Johann Sebastian Bach was better known as a virtuoso
organist than as a composer in his day. His sacred
music, organ and choral works, and other instrumental
music had an enthusiasm and seeming freedom that
concealed immense rigor. Bach's use of counterpoint was
brilliant and innovative, and the immense complexities
of his compositional style -- which often included
religious and numerological symbols that seem to fit
perfectly together in a profound puzzle of special
codes -- still amaze musici...(+)
Johann Sebastian Bach was better known as a virtuoso
organist than as a composer in his day. His sacred
music, organ and choral works, and other instrumental
music had an enthusiasm and seeming freedom that
concealed immense rigor. Bach's use of counterpoint was
brilliant and innovative, and the immense complexities
of his compositional style -- which often included
religious and numerological symbols that seem to fit
perfectly together in a profound puzzle of special
codes -- still amaze musicians today. Many consider him
the greatest composer of all time.
Bach's wedding Cantata No. 195 "Dem Gerechten muss das
Licht immer wieder augehn" (The Righteous must always
sow the light) (BWV 195) exists in three versions
composed at different times. The first was written in
1727, then revised in 1742, and then revised again
sometime between August 1748 and October 1749. The
first version was in eight movements, five before the
ceremony and three after it. In the final version, Bach
dropped the original sixth through eighth movements and
wrote a newly composed sixth movement. The author of
the text is unknown. The cantata is scored for soprano,
alto, tenor, and bass soloists and chorus and a huge
orchestra consisting of three trumpets plus tympani,
pairs of transverse flutes and oboes, strings, and
basso continuo consisting of cello, bass, and
harpsichord. The first movement is a grandly festive
chorale fantasia setting of Psalm 97:11-12 for full
orchestra and chorus with the soloists. The second is a
severe secco recitative for muscular bass soloist and
continuo. The third is a massive aria for bass soloist,
pairs of oboe d'amore, and transverse flutes plus
continuo. The fourth is sorrowful recitative for
soprano soloist and continuo with weeping transverse
flutes and sighing oboes. The fifth is a second festive
chorale fantasia scored in the same manner as the
opening movement. The final version of "Dem Gerechten
muss das Licht immer wieder augehn" concludes with a
harmonization of a chorale by Paul Gerhardt for chorus
and orchestra, but with two horns in place of the three
trumpets.
Although this cantata was originally scored for soprano
and bass vocal soloists, a four-part choir, three
trumpets, timpani, two horns, two flutes, two oboes,
two English horns, two violins, viola, violone, basso
continuo, I created this arrangement for Double-Reed
Trio (Oboe, English Horn & Bassoon) & Strings (2
Violins, Viola, Cello & Bass).
SHEET MUSIC