signature. Stauffer notes that the unusual scoring shows Bach writing specifically for the strengths of the orchestra in Dresden: while Bach wrote no music for two obbligato bassoons in his Leipzig cantatas, such scoring was common for works others composed in Dresden, "which boasted as many as five bassoonists", and that Dresden was a noted center for horn playing. Peter Damm has argued that Bach designed the horn solo specifically for the Dresden horn soloist Johann Adam Schindler, whom Bach had almost certainly heard in Dresden in 1731. Regarding lost original sources, Stauffer says, "A number of writers have viewed the clean appearance of the "Quoniam" and the finely detailed performance instructions in the autograph score as signs that this movement is also a parody." Klaus Hafner argues that the bassoon lines were, in the original, written for oboe, and that in this original a trumpet, not the horn, was the solo instrument. John Butt agrees, adding as evidence that Bach originally notated both bassoon parts with the wrong clefs, both indicating a range an octave higher than the final version, and then corrected the error, and adding that "oboe parts would almost certainly have been scored with trumpet rather than horn." William H. Scheide has argued in detail that it is a parody of the third movement of the lost wedding cantata Sein Segen fliesst daher wie ein Strom, BWV Anh. I 14 Stauffer, however, entertains the possibility that it may be new music. 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". Hafner agrees, and like Tovey, has offered a reconstruction of the lost ritornello; 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