[16] Gedenke, Herr, wie es uns gehet, BWV 217, a cantata for the first Sunday after Epiphany was probably not composed by Bach.
[8] Herr, wie du willt, so schicks mit mir, BWV 73, the cantata for the third Sunday after Epiphany of the first cycle, was restaged at least two times between 1731 and 1750.
[23] However, a few years later Carl Philipp Emanuel Bach, still living with his father in Leipzig, set the three first movements of the 1729 version of Picander's libretto for Septuagesima, Ich bin vergnügt mit meinem Stande.
[24] In the period from 1728 to 1731 Bach produced the final C minor version of his Weimar Estomihi cantata Du wahrer Gott und Davids Sohn, BWV 23, in four movements.
Apart from that he expanded his Easter cantata from 1725, Kommt, eilet und laufet, BWV 249 into an oratorio (several versions), and restaged it multiple times in the last 20 years of his office as Thomaskantor.
Another Easter Tuesday cantata, Ein Herz, das seinen Jesum lebend weiß, BWV 134, belonging to the first cycle, was restaged 27 March 1731, and probably also 12 April 1735.
Am Abend aber desselbigen Sabbats, BWV 42, a cantata from the second cycle for the first Sunday after Easter (Quasimodogeniti), was restaged 1 April 1731.
Der Herr ist mein getreuer Hirt, BWV 112, premiered on the second Sunday after Easter (Misericordias Domini) 8 April 1731, is a late addition to the chorale cantata cycle.
Ihr werdet weinen und heulen, BWV 103, a cantata for the third Sunday after Easter (Jubilate) on a von Ziegler libretto, was probably restaged 15 April 1731.
The libretto for the Pentecost cantata of the 1728–29 Picander cycle, Raset und brauset ihr hefftigen Winde was set by Johann Friedrich Doles, then a student of Bach, in 1740.
[31] Durch die herzliche Barmherzigkeit is a cantata for St. John's Day composed by Johann Gottlieb Goldberg for which Bach helped copy out performance parts around 1745–46.
[7][32] Lobt ihn mit Herz und Munde, BWV 220 is a St. John's Day cantata by an unknown composer.
[34] Meine Seele rühmt und preist, BWV 189 is a cantata for Visitation (2 July), using a German paraphrase of the Magnificat as text.
[37][15] Barmherziges Herze der ewigen Liebe, BWV 185 is a Weimar cantata for the fourth Sunday after Trinity existing in four versions, the last of which was produced in Leipzig around 1746–47.
[38] Wer nur den lieben Gott läßt walten, BWV 93 is a chorale cantata for the fifth Sunday after Trinity, first presented in Bach's second year in Leipzig.
Was frag ich nach der Welt, BWV 94, a chorale cantata for the ninth Sunday after Trinity, first performed in Bach's second year in Leipzig, was probably restaged around 1732–35.
The chorale cantata for the 14th Sunday after Trinity Jesu, der du meine Seele, BWV 78, first performed in 1724, was restaged after 1735.
[45] For the 16th Sunday after trinity 17 September 1747 Bach produced a second version in D major of the chorale cantata Liebster Gott, wenn werd ich sterben?
The chorale cantata Herr Gott, dich loben alle wir, BWV 130, for Michaelmas, premiered in 1724, was restaged in a modified version around 1732–35.
[51] Bach's final version of the Reformation Day cantata Ein feste Burg ist unser Gott, BWV 80 may have originated around 1735.
A modified version of the 1724 chorale cantata Wohl dem, der sich auf seinen Gott, BWV 139 for the 23rd Sunday after Trinity was presented around 1744–47.