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 Cantata No. 194 "Höchsterwunschtes Freudenfest"
(Welcome, joyous festival day) (BWV 194) was composed
for the inauguration of the new organ at Storm-Thal in
Leipzig on November 2, 1723. The music apparently is a
parody of an early secular cantata Bach had written
sometime during his tenure in Cothen. Setting an
anonymous text later published in the Leipziger
Kirchenmusik of 1731, "Höchsterwunschtes Freudenfest"
is one of Bach's largest cantatas. It is in two parts
of six movements each and scored for bass, soprano, and
tenor soloists and chorus, three oboes, strings, and
basso continuo. The first part of "Höchsterwunschtes
Freudenfest" begins with a ceremonial French overture
for chorus and full orchestra followed by a stern secco
recitative for bass soloist and continuo and a pastoral
aria for bass soloist, obbligato oboe, strings, and
continuo; followed by an anguished secco recitative for
soprano soloist and continuo and a gavotte aria for
soprano soloist, strings, and continuo; and closes with
a lush setting of a chorale by Johann Heermann from
1630 for chorus and full orchestra colla parte. The
second part of "Höchsterwunschtes Freudenfest" begins
with a heroic secco recitative for tenor soloist and
continuo and a gigue aria for tenor soloist and
cello-driven continuo, followed by a duet secco
recitative for soprano and bass soloist and continuo
and a long and lovely minuet duet aria for soprano and
bass soloists, a pair of obbligato oboes, strings, and
continuo, followed by a brief a secco recitative for
bass soloist and continuo. It concludes with a
straightforward harmonization of a chorale by Paul
Gerhardt for chorus and full orchestra colla parte.
Although originally scored for three vocal soloists
(soprano, tenor, and bass), a four-part choir, three
oboes, bassoon, two violins, viola, and basso continuo,
I created this arrangement for Wind Quintet (Flute,
Oboe, Bb Clarinet, French Horn & Bassoon).
PARTITION