Composed for the Feast of the Ascension in 1723, Bach's Cantata No. 37 "Wer da gläubet und getauft wird" (Who believes and is baptized) (BWV 37) sets a text by an unknown poet. Bach also incorporates three chorale hymns into the cantata: the first movement is based on lines from the Gospel According to Mark 16:16, the third movement sets a chorale by Philipp Nicolai from 1599, and the sixth and last movement sets a chorale by Johann Kolrose from 1535. Although composed for one of the major feast days of the Lutheran year, the cantata is lightly scored for tenor, soprano, alto, and bass soloists; chorus; a pair of oboe d'amore; strings; and basso continuo. "Wer da gläubet und getauft wird" is in bright A major with its first, second, and sixth movements in the tonic; its second and third movements in the major subdominant of D major; and its fourth and fifth movements in the relative minor of the subdominant of B minor. The first movement is a spacious chorale fantasia with the instruments carrying most of the argument. The second is a propulsive aria for tenor soloist and continuo that apparently once had an obbligato violin accompaniment that is now lost. The third is an extraordinary chorale setting for choral sopranos and altos dueting above a rushing continuo. The fourth is recitative for bass soloist, piano, strings, and continuo. The fifth is an elegantly insistent aria for bass soloist, strings, and continuo. "Wer da gläubet und getauft wird" concludes with a mighty harmonization of Kolrose's chorale for chorus and full orchestra colla parte. ~ James Leonard, All Music Guide
