Aria forms in the vocal works of J. S. Bach, 1714-1724

This study traces the development of J. S. Bach's aria style from the end of the Weimar period (1714-16) through his first year in Leipzig (1723-24). It provides criteria by which the aria can be distinguished from the other kinds of non-recitative solo movements in Bach's vocal works, considers the factors which influenced the scoring of the arias, examines the influence of the texts on the forms of the arias, and provides an overview of the structures of the ritornelli. In the last three chapters, the various categories of aria forms are surveyed: strict da-capo arias (A B A), free da-capo arias (A B A;Detailed consideration of over 200 Bach arias also brings to light a number of remarkable patterns which suggest that Bach systematically explored the conventions of aria composition, as he is known to have done for other genres. It becomes clear that Bach had an extraordinarily comprehensive understanding of the conventions of aria composition. But unlike other composers of his day, he did not view the aria as an inflexible mold. Rather he saw it as a limitless network of possibilities.;Although Spitta believed that "the student who has thoroughly examined (the Weimar solo movements) will find very little that is new as regards form in Bach's later compositions for solo voices," this study demonstrates that there are, in fact, some significant differences between the earlier and later arias. To be sure, there was no radical transformation in Bach's aria style comparable to the transition from his earliest cantatas in the 17th-century German style to the modern, Italianate cantatas of the post-Muhlhausen years. But this study identifies a number of specific details which underwent change during this period.