Many of Bach's works in the course of the 1730s and 1740s have been written for and performed by the Collegium Musicum; amongst these were components of his Clavier-Übung and many of his violin and keyboard concertos. Bach's predecessor as cantor, Johann Kuhnau, had also been music director for the Paulinerkirche, the church of Leipzig University. After this, in 1725, Bach 'lost interest' in working even for festal services at the Paulinerkirche and appeared there only on 'special occasions'. The Paulinerkirche had a much better and newer organ than did the Thomaskirche or the Nikolaikirche.
Like his contemporaries Handel, Telemann and Vivaldi, Bach composed concertos, suites, recitatives, da capo arias, and four-part choral music and employed basso continuo. Bach's music was harmonically more revolutionary than his peer composers, employing surprisingly dissonant chords and progressions, typically with in depth exploration of harmonic possibilities inside one piece. Bach broadened his composing and performing past the liturgy by taking up, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble began by Telemann. In the phrases of Christoph Wolff, assuming the directorship was a shrewd move that 'consolidated Bach's agency grip on Leipzig's principal musical establishments'. Year round, Leipzig's Collegium Musicum performed frequently in venues such as the Café Zimmermann, a coffeehouse on Catherine Street off the principle market square.
He was additionally assigned to teach Latin but was allowed to employ 4 'prefects' to do this instead. A cantata was required for the church providers on Sundays and additional church holidays in the course of the liturgical yr.
For occasion, Kuhnau, Bach's predecessor in Leipzig, had notoriously shunned opera and Italian virtuoso vocal music. One of the feedback after a efficiency of his St Matthew Passion was that it all sounded much like opera.
The tons of of sacred works Bach created are often seen as manifesting not just his craft but in addition a really religious relationship with God. He had taught Luther's Small Catechism as the Thomaskantor in Leipzig, and a few of his pieces characterize it. In elaborating these hymns into his chorale preludes, he wrote extra cogent and tightly built-in works than most, even once they had been huge and prolonged. The massive-scale construction of each major Bach sacred vocal work is evidence of subtle, elaborate planning to create a religiously and musically highly effective expression. From an early age, Bach studied the works of his musical contemporaries of the Baroque interval and those of prior generations, and those influences were mirrored in his music.
By 3 April 1700, Bach and his schoolfriend Georg Erdmann—who was two years Bach's elder—were enrolled in the prestigious St. Michael's School in Lüneburg, some two weeks' journey north of Ohrdruf. His two years there have been important in exposing Bach to a wider vary of European tradition.
Bach was not required to play any organ in his official duties, but it's believed he favored to play on the Paulinerkirche organ 'for his own pleasure'. Bach was required to instruct the scholars of the Thomasschule in singing and provide church music for the principle church buildings in Leipzig.
In church music, Italian composers had imitated the operatic vocal fashion in genres such as the Neapolitan mass. In Protestant environment, there was extra reluctance to undertake such a style for liturgical music.
In Weimar, Bach continued to play and compose for the organ and perform concert music with the duke's ensemble. Bach also started work on the Little Organ Book in Weimar, containing conventional Lutheran chorale tunes set in advanced textures. In 1713, Bach was provided a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the primary organ within the west gallery of the Market Church of Our Dear Lady.