It has not been possible to establish for what occasion Bach composed the cantata Nun danket alle Gott (BWV 192) presumable in the autumn of 1730. The short work was probably written to add musical splendour to a marriage ceremony or likewise embellish the celebration of Reformation Day. For the text, Bach had recourse to three verses ot the hymn of the same name by Martin Rinckart (1636). But Bach’s mastery of his art is evident in his treatment of the three stanzas of Rinckart’s text, which are absolutely identical in terms of form. The fourpart choir, whose lost tenor part can easily be reconstructed from the context, can be heard in the two outer movements with their respectively contrasting treatment. In verse 1, Bach combines contrapuntal writing with the concertante principle and places alongside the choral writing evolved from the chorale melody a thernatically independent instrumental section, whose individual groups of instruments (two flutes, two oboes, strings) even engage in concertante dialogue amongst themselves. Verse 3, on the other hand, takes its character from the dancelike triple rhythm of the gigue; here, polyphonic vocal writing and the orchestral ritornello are based on the chorale melody, which is allotted to the soprano in long note-values. The harmonically cornplex, two-part second verse with its measured, dance-like air clearly periodic structure, orchestral ritornelli, which are once again thematically independent, and chorale melody presented by the soprano and bass soloists, torms an effectively contrasting, calm central section.
On November 2, 1723, the “newly-built organ in the church at Störmthal” was handed over to the church authorities and examined by the same, and ”the following cantata was pertormed at the public service for the inauguration of the said organ, played by Johann Sebastian Bach..." - thus the original edition of the cantata Höchsterwünschtes Freudenfest (BWV 194). As with many other works, at least one secular predecessor in Cantata form was reworked - or, to use the correct term, parodied - by Bach in this large-scale, two-part composition. The work in question is a gratulatory cantata written before 1723 in Cöthen for the royal house of Cöthen-Anhalt (BWV 194a), the text of which has been lost. Alfred Dürr suggests that it is to this work that we owe the unusual concept of applying the form and expression of the French overture, which was extremely popular in the first half of the eighteenth century, to the vocal genre. Thus all the arias are written in dance character: No. 3 as a pastorale, No. 5 as a gavotte, No. 8 as a gigue and No. 10 as a minuet. The anonymous author of the text made use of a hymnic tone appropriate to the ceremonial character of the organ's consecration. As a theme in its own right, based on two different biblical passages, it revolves around the concept of the right way to pay homage to God, demanding praise, thanks and joy (Nos.1 & 7), an offering from our lips ("Lippen Opfer,” No, 2), i.e. we should offer "songs as gifts in adoration" (No. 4) - an idea that is also frequently found in wedding cantatas and cantatas celebrating the election of the new city council ("Ratswechsel"). Both of the two parts, each of which consists of six numbers and ends with a chorale. No. 6 is based on two stanzas of lohann Heermann’s "Treuer Gott, ich muß dir klagen" (True God, I must pour out my troubles unto you), while No. 12 is based on two stanzas of the well-known Paul Gerhardt hymn "Wach auf, mein Herz, und singe" (Awake, my heart, and sing). Bach initiated several further performances of the cantata after 1723, with a number of alterations being made on each occasion; and the work was even performed in Halle after Bach’s death, conducted by the composers eldest son Wilhelm Friedemann Bach.
The wedding cantata Dem Gerechten muß das Licht immer wieder aufgehn (BWV 195) exists in three different versions, composed at different times. Originally composed circa 1727 for "4 \/oci / 3 Trombe / Tamburi / 2 Hautbois e / Flauti / 2 Violini / Viola / e / Continuo," it was revised for a repeat performance circa 1742. A further performance took place at some time between August 1748 and October 1749. For this occasion, Bach cut movements 6-8, and added in his own handwriting and "in the ponderous style of his old age" (H. J. Schulze) as a new sixth movement the two stanzas of the Paul Gerhardt chorale "Nun danket all und bringet Ehr" (1647) to the score, set to the melody "Lob Gott, ihr Christen, alle gleich" (Praise God, O Christians, one and all). In keeping with the occasion, "rectidude" and "graciousness" are praised, and Godßs blessing is asked for the future state of matrimony. In compliance with the ceremonial laid down in the church regulations, one part (Nos. 1-5) was heard before the actual wedding, and the other part (No. 6) afterwards. The festive character of the composition is emphasized by a large orchestra, two vocal soloists and the division of the choir into a solo and a ripieno choir, while the aria framed by two recitatives, with its catchy, dance-like melody gives eloquent expression tothe sense of rejoicing over the bond of matrimony now forged.