The century opened with a large number of great organists in service, like Joh. Christoph Bach of Eisenach (d. 1703), succeeded there by Joh. Bernhard Bach (d. 1749), Pachelbel (d. 1706) at Nuremberg, Buxtehude (d. 1707) at Lubeck, Joh. Egidius Bach (d. 1717) and Buttstett (d. 1727) at Erfurt, Reinken (d. 1722) and Lübeck (d. 1740) at Hamburg, and Böhm (d. 1733) at Luneburg. There were also noted vocal contrapuntists, like Theile (d. 1714) at Merseburg, and the two Kriegers (d. 1725, '35) at Weissenfels and Zittau respectively. Kuhnau (d. 1722), organist at Leipsic from 1684 and cantor of the Thomasschule from 1700 (preceding Bach), is also remembered for many cantatas and a fine Passion (1721) in a flowing style.
The opening of the century is further marked at Hamburg by three strong composers of nearly the same age, who gave at least part of their talents to church music:—
Reinhard Keiser (d. 1739) took up church music first from 1704, when at the height of his operatic career, and again from 1728, when cantor at Hamburg (see sec. 87). Several of his Passions are known, written to poems by Hunold (1704), Konig (1711) and Brockes (1712), the latter text being also set by Telemann and Handel in 1716, by Mattheson in 1717 and by Stolzel (d. 1749). His solo cantatas were numerous and exhibited the facile melodic skill shown in his operas. Neither his experience nor his character fitted him to enter deeply into sacred music.
Johann Mattheson (d. 1764) began his musical life at Hamburg as a choir-*boy in 1690. After writing several operas (from 1699), he was cantor at the cathedral in 1715-28 (preceding Keiser), retiring because of increasing deafness. Though best known for his critical writings, he is credited with some 25 oratorios and cantatas, at least 2 Passions and a mass, written during his cantorate. His style was less melodious and effective than Keiser's, but decidedly stronger in scholarship and churchly sympathy. His oratorios were a serious attempt to utilize the new dramatic methods in connection with sincere public worship. For a short time he was a friend of Handel, but nearly killed him in a hasty duel (1704); later he was a fairly cordial judge of the latter's greatness.
Georg Philipp Telemann (d. 1767) was superior to Mattheson in versatility and enthusiasm, though almost wholly self-taught. In 1701, while studying at Leipsic University, he began to write cantatas and to serve as organist. At this time he was intimate with Handel. After short terms as court-musician at Sorau from 1704 and at Eisenach from 1708, he became in 1712 choirmaster at Frankfort and in 1721 town-musician at Hamburg, where he continued till his death over 40 years later. His activity as a church composer began at Frankfort and continued side by side with his operatic and instrumental work. His fertility and rapidity were almost incredible, his sacred works including 12 annual cycles of cantatas (said to comprise about 3000 numbers), besides many detached ones, 44 Passions (1716-66), several oratorios, about 65 installation-pieces, about 25 anthems for weddings and funerals, and numerous accompanied solos of various sorts. His style naturally tended to be superficial, but was popularly so effective that he was one of the most famous composers of his day.
Regarding Handel's works of this class, see secs. 129-130.
