unity and applying them to the exposition of sustained religious conceptions. Almost always the chorale is conspicuous, often serving as the musical text for the whole, usually presented strongly in the opening and closing numbers at least, and in its detailed treatment often carried to the extreme of contrapuntal elaboration. The form of the solo numbers varies greatly, showing that he was not only fully aware of the current style of da capo aria, but ready to adopt other plans as well; usually there is a detailed development of the sentiment of the words, though often with a profundity of interpretation that escapes the casual hearer. The accompaniments, usually for at least some solo instruments besides the organ, are full of learning and originality, and constitute important parts of the total effect. Sometimes there is a prelude or overture. The enormous extent of Bach's work in this field indicates how much it engaged his interest. Yet, unfortunately, the intimate connection of all these works with the specific type of Lutheran service of the period makes it impossible to maintain them in general popular knowledge and appreciation.
In selecting his texts Bach often used those of inferior literary quality,
evidently feeling that the dignity of the total impression would be determined
by the music. Yet in editing these texts and in laying them out
for treatment he was guided by a fine dramatic instinct.
The Passions and other festival oratorios of Bach are really
expanded cantatas. They involve the same structural elements,
but rest on texts that are still more evidently dramatic or historical
in substance. Here again we find him taking forms
and materials that had been used before, either in similar or
different connections, and remodeling them into a novel and
powerful unity all his own. He thus contributed notably to
one branch of the development of the oratorio as a significant
art-form.
As soon as extended musical treatment of the mediæval Mysteries became
common, the preparation of settings of Gospel stories of the sufferings
and death of Christ, or of other texts based upon these stories,
naturally aroused peculiar interest. The methods adopted at different
periods in the history of the musical Passion vary widely. The text
selected might be wholly Biblical, or might contain verses of hymns suitable
for chorales or part-song settings, or might consist entirely of a freely
composed narration and elaboration of the Gospel incidents. The musical
form might be Plain-Song melodies throughout, or such melodies alter-
