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The article examines the cantatas composed by Johann Sebastian Bach for a congregation in Mühlhausen, Thuringia, Germany. A brief profile of Bach is provided who was a popular cantata composer and a devoted church musician. The differences between Bach's early works and later cantatas composed in Leipzig are discussed as well as the contexts of the Mühlhausen cantatas and music printing. Also tackled are the teleological narratives of Bach's life and career.

The article discusses orchestral music by the 18th century German composers Christoph Graupner and Johann Friedrich Fasch, contemporaries of composer Johann Sebastian Bach. Topics include the influence of Italian composer Antonio Vivaldi on Fasch and church cantatas composed by both composers. Notable recordings of their works are explored, including "Bass-Kantaten" by Graupner, "Concertos for various instruments" by Fasch, and Graupner's "Frohlocke, werte Christenheit—Christmas cantatas."

An article is presented on a year-long concert series of cantatas composed by Johann Sebastian Bach and performed in Plön, Germany by choir members of the evangelical Lutheran church in that city. The author discusses barriers to the performance of the music of Bach including difficult-to-find musical scores, and describes the increase in the number of donations to the church.

The article presents a guide to the sacred solo cantatas of composer Johann Sebastian Bach, which enables professional performer, teacher or student to select a cantata for a solo voice or voices. The cantatas of Bach's escape the title of solo cantata because such cantatas contain a single choral movement which is inappropriate for congregational singing. Bach's sacred solo cantatas were written during his years in Weimar, Germany, from 1708-1717, as well as in Leipzig, from 1723-1750, and such cantatas employ texts for the Lutheran liturgy. It also states that the reason why Bach wrote cantatas for solo voices is because of the popularity of opera in the eighteenth century in Germany. A chart depicting Bach's sacred solo cantatas in the Lutheran church calendar is also presented.

The article discusses a cycle of cantatas composed by Gottfried Heinrich Stölzel and its purported entire performance by composer Johann Sebastian Bach during 1735. The author discusses his research at the Thomas School in Leipzig, Germany, and discusses his findings there regarding further such musical compositions of Stölzel.

This article presents information on German music director Johann Sebastian Bach. Bach came to Leipzig, Germany in 1723 from Cöthen, where he had presided over an excellent instrumental group and some doubtless competent vocal soloists. There he was able to rehearse the chamber musicians in his own quarters, and that for special occasions he could engage singers from outside, so People are justified in assuming that each performance was carefully prepared under high standards. Exact information about rehearsals in Leipzig is not available.

Focuses on the reception of cantata and performance of musicians for church music in Leipzig, Germany. Element of liturgy; Concentration of the musical parts of the service; Symbols of the public status of service.

This article relates that the Italian cantatas of German composer George Frideric Handel have been acclaimed for their masterful dramatic construction and extraordinary melodic beauty. Topics discussed include the musical compositions of Handel including the Italian cantatas "Lucrezia (O Numi eterni)" and "Nel dolce dell' oblio, and the "German Arias." Mentioned also is how the author prepared an edition of Handel's cantata, "Mi palpita il cor," for soprano, oboe and continuo.

The article discusses the texts of church songs, examining the use of old texts and the creation of free verse versions. The author discusses the three most important publications of J. S. Bach's texts from 1913, 1956 and 1974, respectively, and argues that a rewriting of some cantatas is needed. The author also mentions Bachfestes 1965, a Bach festival which took place on June 14, 1965 in Hamburg, Germany, and focused on whether separate parts or Bach's whole cantatas should be rewritten.

The article presents information on the discovery of an unknown aria by J. Bach in the Duchess Anna Amalia library Weimar, Germany by researcher Michael Maul in May 2005. The aria was found in a shoebox along with other volumes. A historical background of the aria is presented. The aria was proven to be written by Bach himself.