Bach’s vocal polyphony, as illustrated by the intricate choruses of his cantatas, was built squarely on his conception of instrumental polyphony as applied to the church service. All the finest qualities of his organ style--the inexhaustible wealth of invention, the masterful use of every contrapuntal device for exploiting the thematic material, the majestic sweep of massive bodies of closely knit melodies--all are found in these choruses in a profusion and affluence that show at once the marvellous fecundity of his genius and the reverent love and patient care with which his task was wrought. Of the nearly fifty cantatas that are published with German and English texts, many might justly be chosen for analysis that would closely approach in excellence the few here presented. These few, however, are recognized as among the greatest and are thoroughly representative of Bach’s cantata style. In addition to these there may also be enumerated _Wer nur den lieben Gott_ (‘If Thou but Sufferest God to Guide Thee’), _Jesu, meine Freude_ (‘Jesu, Priceless Treasure’), _Aus tiefer Noth schrei’ ich zu Dir_ (‘From Depths of Woe I Call on Thee’), and the Ascension cantata _Wer da glaubet und getauft wird_ (‘Whoso Believeth and Is Baptized’). _Ich hatte viel Bekümmerniss_ (‘My Heart was Full of Heaviness’).--This work was Bach’s first sacred cantata. He composed it in 1714 at Weimar while still depressed over his difficulties with the elders of the _Liebfrauenkirche_ at Halle about an organ position; the music is strongly colored by this mental condition. It was written for the third Sunday after Trinity and contains eleven numbers. The first part, which is mournful in character, consists of a quiet opening chorus, a beautiful aria for soprano accompanied by oboe and strings, a tender recitative and aria full of intense sorrow, and a closing chorus tinged with deep pathos, ‘Why, my Soul, art thou vexed?’ Part II is more cheerful. A duet for soprano and bass, who represent the soul and Christ, is followed by a richly harmonized chorus introducing a chorale melody. Then comes a pleasing tenor aria with graceful accompaniment, ‘Rejoice, O my Soul, change weeping to smiling,’ leading to a final chorus. The words ‘The Lamb that for us is slain, to Him will we render power and glory,’ are uttered majestically by the full choir; the solo bass gives out the words ‘Power and glory and praise be unto Him forevermore,’ leading to the final ‘Hallelujah,’ poured forth with tremendous effect by the combined choir and orchestra.