My liner notes from the Herreweghe recording states that bach composed 3 of the 4 alto cantatas within a period of a few months in the year 1726. Some have presumed that Bach resorted to a chamber-cantata as the result of the lack of an adequate choir to perform the larger and more complex choral works. At the same time, it seems clear that Bach did have at his disposal a rather talented alto singer who was "not only an accomplished coloratura, but also capable of expressive cantabile singing, as well as possessing the qualities of endurance and particularly of accurate intonation."

There has long been speculation as to the identity of this singer. A castrato is completely out of the question... as most likely is a female singer... in spite of the fact that Bach not long after is to have expressed an admiration (and certain envy) of Johann Adolph Hasse's access to some of the finest the female opera singers and the highly talented musicians of Dresden following a perfomance of Hasse's oratorio, Daniello. C.P.E. Bach later claimed that Hasse and his father had become great friends around this time. The most plausible hypothesis, however, is that the singer was a talented and more mature choir boy.

Of course it should be noted that Bach was not one to allow the availability of a singer, orchestra, or choir to dictate his work. The composer experimented with a broad array of forces and instrumentation, ranging from solo cantatas to the most grandiose of compositions employing a large choir and orchestra and a number of instrumental and vocal soloists.

The text of Geist und Seele wird verwiret (BWV35) is based upon the collection of poems, Gottgefälliges Kirchen-Opffer. The cantata opens with an extended concert-like movement in which the organ takes center stage. It has been suggested that this and the first aria, Geist und Seele wird verwirret, were reworked from a lost instrumental concerto with the voice replacing the instrumental solo in the aria. This notion is reinforced by the concerto-like accompaniment. of these two movements. As in the opening concertante, this first aria is scored for orchestra, virtuoso organ, and voice. The voice and organ weave brilliantly together against the gently rocking theme set forth by the orchestra. This is without a doubt, the centerpiece of the cantata... and one of Bach's great inventions to be found among his cantatas:

Following the recitative, the second aria, Gott hat alles wohlgemacht presents a stripped down orchestration with only the voice, virtuoso organ, and harpsichord continuo remaining. Bach follows this with a Sinfonia movement featuring once again the brilliant playing of the organ soloist. Whereas the first two arias express a joy and wonder evoked by the sinner's contemplation of God and the miracles he has wrought, the final aria, which reunites the full orchestral concertante and forces of the opening movements conveys a longing or desire to be finally united with God and his angels.

Considering the supposition of the first two movements having been reworked from an instrumental concerto, I cannot help but wonder whether the Sinfonia and final aria might have been reworkings of the final two movements of such an instrumental piece. This would result in a 4 rather than customary 3-movement concerto... but this would not be unique for Bach. One need only look to the Brandenburg Concertos.

Let's see what Philidor says. I sometimes think they purposefully crippled the groups functionality.