JS Bach in 4 Leipzig Churches

J.S. Bach is the most famous musical director in the history of Leipzig. He held the position for 27 years between 1723 and his death in 1750. Being the musical director, or Thomaskantor, in Leipzig, came with a heavy workload. JS Bach was tasked with preparing the choir for services in the city’s four Lutheran churches (St. Thomas, St. Nicholas, New Church (or St. Matthew), and St. Peter). The most skilled singers performed a cantata each week in the St. Thomas and St. Nicholas churches, composed by the Thomaskantor.

Soli Deo Gloria — “for the glory of god alone” is one of the five fundamentals (solae) of the Protestant Reformation. During the Lutheran Reformation, the arts were promoted, unlike under the Calvinists, who preferred to strip worship to the basics. We can think of it as an extension of the Luther vs. Calvin debate. The Calvinists preferred bare walls and a single white cross at the front of the church so that congregants could focus on the message. Calvinists cleansed their churches and destroyed relics and artworks alike.

While the Calvinists shied away from decorating their churches, the Lutherans took a more balanced approach. Luther, the father of the Lutheran Protestant Reformation, took a different approach. He was a man of the old world and understood the importance of the arts. While Lutheran churches may not be as lavishly decorated as their Roman Catholic counterparts they do feature some decoration.

Music in Lutheran churches was also important. The vernacular language took precedence over Latin and the congregational hymns were simpler to allow the people to sing in their language. On special occasions, there was still an orchestra and choir to perform works commissioned by the church directors. Bach signed off his 200 sacred cantatas with the phrase, Soli Deo Gloria (abbreviated to S.D.G.).

One could think of Lutheran church music, and especially J.S. Bach’s, as offering a contemplative view of life and a rehearsal for death when heaven is the reward. Congregants were regularly reminded (and berated) from the pulpit to turn away from a sinful life.

Although Bach’s music would underline these sentiments, his music also provided a glimpse of the sublime and the comfort and joy of eternal life after death. One can easily see the parallels to ancient Egypt’s religious thought, and their mummification procedures, and other cultures like the Chinchorro and the Aztecs who also preserved their dead as mummies. There is a central theme that runs through human history about life, death, and resurrection — life is a grand rehearsal for the afterlife.

The Thomaskirche (St. Thomas Church) is perhaps one of the most revered Bach-related destinations one can visit. J.S. Bach spent the last 27 years of his life working for the church as Thomaskantor and director of music. Many of his major works were performed at this church, including the St. Matthew Passion and the Mass in B Minor. Other notable works include his three cycles of cantatas composed during this time.

The first cycle of cantatas was composed between 1723 and 1724, running through the Lutheran church’s liturgical year from the first Sunday after Trinity to the next year’s. Bach produced some 60 works during his first year in Leipzig — a record-breaking speed. It is thus understandable that he would reuse some of his compositions and restage them (three are adapted from previous works while 16 were restaged).

In the second cycle of cantatas (1724-1725), J.S. Bach discarded the conventional church cantata format and invented a unified cantata form based on the words and music of seasonal hymns. The first and last verses of the hymn became the opening and closing movements of the cantata. The middle verses were paraphrased and arranged to accommodate the recitatives and arias of the cantata. The hymns were carefully chosen to reflect the sermon and time of the year.

Notable Works

One notable work from J.S. Bach’s tenure at Thomaskirche is his cantata, Gott, der Herr, ist Sonn und Schild (God the Lord is Sun and Shield), BWV 79, which he composed for the Reformation Festival in 1725. It is the only cantata by Bach composed on this theme.

Gott der Herr ist Sonn und Schild, BWV 79, by JS Bach

Another highlight from Bach’s tenure is Ein feste Burg is unser Gott (A Mighty Fortress is Our God), BWV 80. This cantata is filled with military references in the text and music.

Ein feste Burg is Under Gott, BWV 80, JS Bach, ca. 1739

The definitive version of the cantata was created by Bach over many years and was probably completed in 1739. The opening melody is taken from Martin Luther’s hymn of the same name. The text’s military references are based on that of Psalm 46. The hymn became the battle song of the Reformation.

While most of J.S. Bach’s work centered around the Thomaskirche, his talents were also required at the Nikolaikirche, a church also renowned for its painted baroque ceiling. Bach was not formally affiliated with the church, but he composed music for civic and ceremonial occasions there. A prime example is his cantata, Preise, Jerusalem, den Herrn, (Unto Thee, O God, We Do Gove Thanks) BWV 119, performed on 40 August 1723 — three months after he arrived in Leipzig.

The work was composed for the Ratscwechsel (the changing of the town council). Bach led the Thomanerchor (St. Thomas Choir) during the performance. Musicologist Klaus Hoffman states the following about these cantatas:

“… the surviving cantatas show that Bach was especially keen to show the great splendour of his artistry in these works: after all, at the election service he had the entire council in his audience, and presumably the civil servants too – and probably also representatives of the Prince Elector’s regional administration. It was an opportunity for Bach to show how sacred music was flourishing under his direction and to present himself as a composer, and it would seem that in these works—having made a realistic appraisal of his distinguished listeners—the composer sometimes focused on striking effects and also made judicious use of material from already existing compositions.”

Notable Works

Christmas Oratorio, BWV 248, by JS Bach, 1734

One of the most memorable performances at the church was the premiere of JS Bach’s Christmas Oratorio, BWV 248, celebrating the joy of Christmas. The oratorio is divided into six parts, each focusing on an element of the Christmas story from the birth of Jesus to the adoration of the Magi. Nikolaikirche had the honor of presenting the work’s premiere.

3. Alte Peterskirche (Old St. Peter’s Church)

During Bach’s time, the Alte Petrikirche occupied a small place in his workload. As the director of music in Leipzig he had to supply the churches with performers. There is limited documentation relating to J.S. Bach’s work at this church. The choir was required to lead the hymns, but part-singing was required at Thomaskirche and Nikolaikirche where Bach led the musicians himself.

The original Peterskirche was demolished in 1886 because it became too small for the rapid urban expansion and congregation. Today, the Johann Sebastian Bach School of Music occupies the former site of the Alte Peterskirche.

Music at the Neue Kirche was supervised by J.S. Bach but not much is known about his involvement in the church’s musical life. Apart from the third choir of the Thomaskirche performing at the church, there is scant information about Bach’s work at this church. Part singing was required at the church and was probably overseen by Bach himself.

The church was remodeled in the Gothic Revival style by Oskar Mothes after a new congregation formed at the church and it was renamed Mattäikirche (St. Matthew Church). Julius Zeißig restructured the church between 1892 and 1894. Unfortunately, it was demolished during the Bombing of Leipzig in 1943 by Allied forces.

J.S. Bach’s tenure in Leipzig between 1723 and 1750 highlights his genius and is a testament to his enduring legacy. Apart from his work as choir director, he also made multiple contributions to the musical life of the city’s four main Lutheran churches.

Whether his involvement at the church was large, as in Thomaskirche and Nikolaikirche, or more indirect as at Alte Peterskirche and Neue Kirche, he did it all for the glory of God. He was a devout Lutheran who chose to serve the sacred and secular musical landscapes in Leipzig with devotion. His music is a testament to the power of the human spirit’s creative heights.