BACH MUSIC DATABASE

SECULAR CANTATAS
INTRODUCTORY PAGE

It has been suggested that the secular cantatas by Bach are all but second-rate compared to his magnificent cycles composed to provide a ‘well-regulated church music’ (BWV 1-200). Not so. Indeed, movements contained within the secular pieces were re-worked (or parodied) and appear later in the church cantatas and Christmas Oratorio. Bach provided the secular cantatas as part of his duties. It should be remembered that the Leipzig Thomaskantor, for example, is appointed by the city not the church, with duties to both in the 18th century. Bach’s positions at Weimar and Cöthen also required him to consider providing special works for his respective royal employers. There were those composed for leading academics as well. Set to absurd texts, Bach used it all as an excuse to indulge and flatter these personages. They are in no way lightweight musically but delightful reflections of life at the time and another expression of Bach’s genius.

Dramma per musica
is an Italian term of the period for an ‘opera libretto’. Bach used the term to describe some of the secular cantatas, especially those with a storyline however absurd e.g. BWV 205.

Serenata
is the Italian term used to describe a work to be performed during the evening. These were usually ‘homages’ to distinguished persons and presented in the open air.

Zimmermann’s Coffee House
in Catherinenstrasse was the venue for the weekly meetings of the Leipzig Collegium Musicum, the students’ musical society founded by Telemann in 1702. In winter they met on Friday evenings at the Coffee House but during the summer used Zimmermann’s garden. People flocked to hear the talented students sing and play. Useful contacts could be made there. Bach became the director musices Leipzig Collegium for two periods, from 1729-37 and again from 1739-41, and it was with the Collegium that many of the secular cantatas were first performed. Whilst no programmes exist as proof of the music performed in the Coffee House, it is generally accepted that both BWV 201 and 211 were first presented there along with the specially transcribed concertos for one, two, three or four harpsichords.

Parody
in the context of Bach’s music applies to the re-working, adaptation or compilation of existing vocal music to form a new piece. Instances of these are identified with each appropriate cantata but are by no means exhaustive. Bach’s use of the technique was a further example of his genius, for with him it was a consummate skill. Scholars have long pondered the reasons why Bach applied the art of parody to so many of his vocal works. The answer may be simply a practical one, with no more reason than just plain pressure of work! The two best known works where the art of ‘parody’ is applied are Christmas Oratorio (re-working and adaptation) and Mass in B minor (compilation from other sources)

The secular cantatas are ideal for programmes of a more festive nature, or for special occasions. They are easily marketable because of the occasions for which they were written e.g. for a Royal Birthday or in homage to a royal or distinguished person.

© Margaret Steinitz