Bach was fond of dividing his violas. Thus, part of “Gleichwie der Regen und Schnee” is scored for four voices, two flutes, two violins, four violas, fagotto, violoncello and continuo.
Or parts are written for a viola and a taille (the tenor viol). In “O Ewigkeit, du Donnerwort,” the scoring is for three oboes, two violins, viola and continuo, with a tromba da tirarsi (slide trumpet) in unison with the soprano throughout. The cantata “Ich hatte viel Bekümmerniss,” known in England as “My spirit was in heaviness,” was composed and performed at Weimar on the third Sunday after Trinity, 1714, on his being made Concertmeister there. It is labelled “Per ogni tempi,” “suitable for any season.” It has one oboe and one fagotto, besides the usual strings.
A Mannerism
“Es ist nichts gesundes” is scored for three flutes, cornet, three trombones, two oboes, the usual strings and four voices. Here the cantus firmus is given out by the organ in the bass with figures,
and there is no further reference to it until long after the chorus have entered, and have been singing contrapuntal passages, when, without any warning as it were, the three flutes, cornet, and three trombones, which have hitherto been silent, bring in the chorale in four parts, the voices and strings continuing their contrapuntal course. The effect is so peculiarly Bach-like that we cannot refrain from quoting a few bars.
From the Cantata “Es ist nichts Gesundes an meinem Leibe.” No. 25.
