BWV 202.3 “Phöbus eilt mit schnellen Pferden”, Bearbeitung mit Violin obligato

I wrote only the violin part (12. February 2023), J.S. Bach wrote everything else. Performed by Amsterdam Baroque Orchestra with Ton Koopman, sung by Dorothee Mields (obligato track added by me). Compare with the original performance here: • Bach: Cantate 'Weichet...
By the way, Bach wrote some very dissonant counterpoint here (for example, 99978 in 16ths), as well as an instance of parallel octaves between the voice and continuo (can you find it?)
This is part of an ongoing project to add obligato instrumental parts to all of Bach's continuo arias (those arias from his Cantatas which were written for continuo and voice alone without any additional obligato instruments). My reason for doing this is to learn from Bach's compositions, to challenge myself and improve my skills. This is a draft which may be improved. There are over 60 such arias to work with. I've shared some other efforts on my blog at aah.zentral.zo...

[@henrykwieniawski7233]

Wunderschön!!

[@AaronAndrewHunt]

Vielen Dank!

[@mensah-j]

2:56, the sequential use of the motive combined with a run from so to ti using an established rhythmic motive...
I feel like Bach often thinks in a motivic and goal-oriented manner first, with all the minutiae of counterpoint second to this. Reminds me of the draft of the WTC I E major fugue in which he writes parallel fifths as a consequence of a scalar bass (goal in mind is to reach a particular harmony with stepwise motion in the bass) and a melodic sequence based on the fugue theme...
My 2 cents: The fact that he initially wrote this in the fugue means that he either initially did not see this error or thought it to be acceptable given the circumstances. In both cases I think it shows that contrapuntal thinking was not always foremost in his mind.
0:52 Very subtle. Personally I would not have noticed especially with these contrasting timbres it if you didn't say anything. I think it's no coincidence that we have another sequential figuration in the bass and a stepwise descent in the melody.

[@AaronAndrewHunt]

There's a quote from C.P.E. (which I can't find at the moment) about his father's use of dissonance, the gist being that there can several in a row. The point is that good counterpoint isn't about isolated intervals; it's about how melodies fit together to produce good harmony. Clearly identifiable patterns can fit in a way that produces many dissonant passing intervals, as long as the harmony remains clear. Timbral separation makes a lot of passing dissonance virtually disappear, as you mentioned. The whole point of avoiding parallel 5ths and octaves is to maintain independence of the voices. When timbre takes care of the separation, parallels can be used, so they appear here and there in Bachs vocal works.