Johann Sebastian Bach held only five different vocational positions in his life. Twice he was the appointed court composer for German aristocrats. The other three postions he held were church-related. While most composers in Bach's day spent their lives bouncing from court to court, opera house to opera house, with little or no long-term stability, Bach spent the last twenty-seven years of his life as music minister for the churches of Leipzig, Germany. His duties there far exceeded simply tinkling around on his harpsichord, however. He oversaw the choirs of the three Leipzig churches. He composed the music not only for the worship services but also for all special celebrations within the municipality. He wrote one new cantata per week for six and a half years. He had to keep the organs in working order and he was responsible for educating the choir boys in music and Latin. This was the job description for a “minister of music” in Reformation-era Germany.
Bach signed a contract with the church councils when he moved to Leipzig, which read in part, “To the end that good order may prevail in these churches, I should so arrange the music that it may not last too long, and also in such ways that it may not be "operatic", but rather incite the hearers to devotion.” It is necessary to note that the opera was the pop music of Bach’s day. As hard as it is to believe today, opera was at that time the form of entertainment which was most easily assimilated by the masses and readily available to be consumed. Operas were mass-produced sappy melodramatic plays set to music. New operas were staged at a rate of almost one per week in some of the larger cities. Yet Bach resolved that the music that he wrote and implemented in worship would not be influenced by the din of the opera house. Surely there would have been those who would have approved of taking the popular music of the day and applying it to the worship of the church, but Bach determined that the sound of musical praise to God should be notably different from the music of the culture in which he lived.
The Reformation in Germany had re-introduced harmony and instruments and vernacular lyrics to the music of the church. While this may sound like the same sort of “worldy compromise” which Bach committed himself to avoid, it should be noted that while the church used the same musical tools as the secular composers, the body of work it built was remarkably different in tone, texture and most imporantly, spirit. Bach, in his religious compositions, invented entirely new uses and combinations of instruments, harmonies and chords. He borrowed little from his culture, though his culture very quickly began borrowing many musical ideas from him. It is almost impossible to imagine a Christian musician today having such individuality and ability that the world of popular music should copy his “sound”. But this is exactly what happened in Bach’s day. It was not long before secular operas started sounding like Bach’s cantatas.
Bach would select German chorales, or hymns to arrange for his choir and built his cantatas up around the themes of those hymns. Had Bach not used some of the early reformation hymns in his cantatas, it is very likely that a great number of these hymns would have been lost. Bach chose songs which reflected the glories of God and man’s eternal delight in them. His cantatas were purely Reformational in theme, for as you can understand, the purpose of church music in his day was not necessarily express certain feelings, or to relate the Christian experience, or to be something that was merely fun to sing, but rather, to codify the Christian faith. Every part of the Protestant church service in his day was meant to drive home a certain doctrine, and Bach’s music was no exception. Some of it could even be said to be militant and terse in its hard pursuit of doctrinal clarity. (As if something sung in German can resist sounding militant and terse!)
Bach wrote around three-hundred and fifty cantatas, but only about two-hundred and ten survived. They contain some of the most recognizable and melodic themes in classical Western music. Bach’s technique was unparralelled among the classical composers, and he is still considered today by many modern musical scholars to be one of the earliest musical geniuses.
We moderns have Bach to thank for fully establishing the use of harmony, instrumentation and vernacular language in church music. Let us not forget, however, how he used those wonderful gifts and his extraordinary talent to set Reformed worship music apart from both the music of Rome and the music of the opera house in order that he might incite worshippers to devotion.
Recommended Listening:
Cantata 140 “Wachet Auf” (Sleepers Awake)
Cantata 80 “Ein feste Burg” (A Mighty Fortress)
Motet 227 “Jesu, meine Fruede” (Jesus, my Delight)
contains the familiar movement “Jesu, Joy of Man’s Desiring”