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Johann Sebastian Bach, 1748-1749. BWV 232.
Maria Stader (soprano), Hertha Töpper (alto), Ernst Haefliger (tenor), Dietrich Fischer-Dieskau (bass) Münchener Bach-Choir, Münchener Bach-Orchester, Karl Richter (conductor) [1962]
www.discogs.com/release/39016...
Cum Sancto Spiritu
Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in D major, marked Vivace, time signature.
Bach reused the music in modified form as the closing chorus of BWV 191. As to origins, Donald Francis Tovey argued that it is based on a lost choral movement from which Bach removed the opening instrumental ritornello, saying "I am as sure as I can be of anything".[80] Hafner agrees, and like Tovey, has offered a reconstruction of the lost ritornello;[76] he also points to notational errors (again involving clefs) suggesting that the lost original was in four parts, and that Bach added the Soprano II line when converting the original into the Cum Sancto Spiritu chorus. Rifkin argues from the neat handwriting in the instrumental parts of the final score that the movement is based on a lost original, and he argues from the musical structure, which involves two fugues, that the original was probably a lost cantata from the middle or late 1720s, when Bach was especially interested in such structures.[68] Stauffer is agnostic on the question.[75]
Source: en.wikipedia.org/wiki/Mass_in...