(Publications of the New Bachgesellschaft XII. (2)). 301 Other than the _Passions,_ the only Oratorios are the _Christmas Oratorio_, (1734), the _Easter Oratorio_ (c. 1736), and _Ascension Oratorio_ (c. 1735). 302 Besides the B minor Mass (1733-? 38) Bach wrote four miscalled “short” Masses, in F major, A major, G minor, and G major. They all belong to the Leipzig period (c. 1739). 303 Besides the setting of the Sanctus in the B minor Mass there are four detached settings, in C major, D major, D minor, and G major. Of these only that in D major is probably by Bach (c. 1723). 304 The music for Saints’ Days is included in the church Cantatas. For the Birthday Odes see supra, Chap. IIA. 305 Besides the _Trauer-Ode,_ three or four of the church Cantatas and certainly three of the Motets were written for funerals. See Terry, op. cit., pp. 24, 44. 306 Among the church Cantatas there are at least five for use at weddings. Bach wrote also three secular wedding Cantatas: _Weichet nur, betrübte Schatten_ (c. 1730); _O holder Tag_ (11749); the third (1728) has disappeared. 307 Two Italian Cantatas—_Amore traditore_ and _Non sa che sia dolore_—have come down to us. A third, _Andro dall colle al prato,_ is lost. See B.G. XI. (ii.), XXIX. 308 Only six are genuine. See infra, p. 141. 309 Of the Motets that have come down to us as his, only six are Bach’s. Forkel mentions five of them in secs. 7 and 3 of the next paragraph; he omits _Lobet den Herrn, alle Heiden._ In 1802-3 Breitkopf and Haertel published six Motets—the five mentioned by Forkel and another, _Ich lasse dich nicht,_ of which Bach made a copy, but whose composer actually was Johann Christoph Bach. We know that Bach composed at least one Latin Motet for double chorus, and Friedemann’s share of his father’s autographs may have contained it and others known to Forkel but no longer extant. 310 The Amalienbibliothek of the Joachimsthal Gymnasium, Berlin, contains one of the most important Bach collections, but it has long been superseded by the Royal Library there as the chief repository of Bach’s Autographs. 311 The Amalienbibliothek has only one Autograph, namely, Cantata 34, _O ewiges Feuer._ The rest are early copies. 312 Cantata 53. No Autograph of this Cantata exists, and the copies from which the B.G. edition was printed are in the Amalienbibliothek. 313 On the contrary, the Cantata belongs to the Leipzig period, 1723-34. 314 None of the four “short” Masses is in five parts. All have instrumental accompaniments. The autograph scores of the Masses in A major and G major are in Messrs. Breitkopf and Haertel’s possession. Copies of the other two scores, in Altnikol’s handwriting, are in the Berlin Royal Library. See Introduction to B.G. VIII.