Aria: "Rühmet Gottes Güt und Treu" (BWV 195 No 3) for Double-Reed Trio & Strings

Uploaded on Mar 14, 2014

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) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (


Pages 11
Duration 04:35
Measures 155
Key signature 1 sharp
Parts 7
Part names
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