Bach's early cantatas

Bach's early cantatas are "Choralkonzerte" (chorale concertos) in the style of the 17th century, different from the recitative and aria cantata format associated with Neumeister that Bach started to use for church cantatas in 1714.[2] The Altbachisches Archiv, a collection of 17th-century vocal works, mostly by members of the Bach family, initiated by Bach's father Johann Ambrosius, contained works in the older style. Bach also had some acquaintance with Johann Pachelbel's works, although there is no evidence that Bach and Pachelbel met. Bach grew up in Thuringia while Pachelbel was based in the same region, and Bach's elder brother and teacher Johann Christoph Bach studied with Pachelbel in Erfurt.[3] There has been recent speculation that Bach wanted to pay tribute to Pachelbel after his death in 1706.[4] Wolff points out the relation of Bach's early cantatas to works by Dieterich Buxtehude, with whom Bach had studied in Lübeck.[5]

The texts for the early cantatas were drawn mostly from biblical passages and hymns.[6] Features characteristic of his later cantatas, such as recitatives and arias on contemporary poetry, were not yet present,[7] although Bach may have heard them in oratorios by Buxtehude, or even earlier.[6] Instead, these early cantatas include 17th-century elements such as motets and chorale concertos.[8][9] They often begin with an instrumental sinfonia or sonata (sonatina).[6] The following table lists the seven extant works composed by Bach until 1708, when he moved on to the Weimar court.[10]

Bach uses the limited types of instruments at his disposal for unusual combinations, such as two recorders and two viole da gamba in the funeral cantata Gottes Zeit ist die allerbeste Zeit, also known as Actus Tragicus. He uses instruments of the continuo group as independent parts, such as a cello in Nach dir, Herr, verlanget mich and a bassoon in Der Herr denket an uns.[6] The cantata for the inauguration of a town council is richly scored for trumpets, woodwinds and strings.[11]

Christoph Wolff writes:[6]

The overall degree of mastery by which these early pieces compare favourably with the best church compositions from the first decade of the eighteenth century ... proves that the young Bach did not confine himself to playing organ and clavier, but, animated by his Buxtehude visit, devoted considerable time and effort to vocal composition. The very few such early works that exist, each a masterpiece in its own right, must constitute a remnant only ... of a larger body of similar compositions.

The Bach scholar Richard D. P. Jones writes in The Creative Development of Johann Sebastian Bach:[24]

"His remarkable flair for text illustration is evident even in the early cantatas, particularly the two finest of them, the Actus tragicus, BWV 106, and Christ lag in Todes Banden, BWV 4. We already sense a powerful mind behind the notes in the motivic unity of the early cantatas, in the use of reprise to bind their mosaic forms together ..."

• Bischof, Walter F. (2015). "BWV 4 Christ lag in Todes Banden". University of Alberta. Archived from the original on 10 May 2010. Retrieved 13 September 2015.
• Dürr, Alfred (2006). The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text. Translated by Richard D. P. Jones. Oxford University Press. ISBN 978-0-19-929776-4.
• Geck, Martin (2006). Johann Sebastian Bach: Life and Work. Translated by John Hargraves. Harcourt. ISBN 978-0-15-100648-9.
• Isoyama, Tadashi (1995). "Christ lag in Todes Banden; Nach dir, Herr, verlanget mich" (PDF). Bach-Cantatas. Retrieved 23 September 2015.
• Jones, Richard D. P. (2007). The Creative Development of Johann Sebastian Bach, Volume I: 1695–1717: Music to Delight the Spirit. Oxford University Press. ISBN 978-0-19-816440-1.
• Wolff, Christoph (2002). Johann Sebastian Bach: The Learned Musician. Oxford University Press. ISBN 978-0-393-32256-9.
• Zwang, Philippe; Zwang, Gérard (2005). Guide pratique des cantates de Bach (Second revised and augmented edition.) (in French). L'Harmattan. pp. 43–ff. ISBN 978-2-296-42607-8.