Review

Johann Sebastian Bach
Motette BWV 229: Komm, Jesu, komm

Arranged by Ralph Sauer

Two alto (tenors), four tenor, two bass trombones

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2019
URL: http://www.cherryclassics.com

Score and parts

Primary Genre: Trombone Ensembles - 8 trombones

It is no secret that the breadth of trombone solo and chamber repertoire significantly lacks representation from history’s most celebrated composers of the earliest eras. Ralph Sauer has worked to fill this void with his prolific catalogue of transcriptions for various ensembles. Although widely believed to have served as a funeral motet, the precise function of BWV 229 is unknown. The text is derived from two of eleven stanzas of a sacred, non-liturgical hymns written for the funeral of Jacob Thomasius in 1684. Komm, Jesu, komm is a masterful work worthy of transcription, although another transcription by Eric Burger for trombone choir is available for as low as $6 compared to this $30 (digital download) to $45 (physical copy) edition from Cherry Classics.

Scored for eight trombones, the ensemble is divided into two choirs labeled as 1-4A and 1-4B with optional alto trombone parts provided (1A and 1B). The altered key of c minor sets the range of parts, BB-flat to e-flat², just outside the range of most collegiate trombone ensembles. The score and parts contain a few misprints, such as the different phrase markings between the score and part 4B in measure 60 and a different rhythm between the score and part 2B in measure 154.

Sauer’s transcription is a faithful, near direct reproduction of the original composition, transposed down to c minor from Bach’s g minor. While some of Bach’s original voicings are traded between parts to avoid voice crossing, the largest deviation from the original work occurs in the final chorale-like aria. While Bach unified the choirs in this final chorale, Sauer leaves them separated until the final four measures.

A frequent challenge of Baroque music, Bach’s original manuscript offers little editorial guidance. Sauer has offered various tempo and dynamic markings to emulate common choral performance practices. Additionally, Sauer’s articulations represent the text well, often slurring through soft consonants. This transcription is a welcome addition to the professional or advanced collegiate ensemble’s library.