©2000, William B. Eerdmans Publishing Co., 240 pages in paperback.

Johann Sebastian Bach was born in l685 and died in l750.  His musical compositions clashed with his culture. He lived at the height of the Enlightenment period when men praised the power of reason; however, Bach’s music was written to turn the hearer’s attention to the glory of God.

In this book Stapert introduces the composer in the opening chapter.  Next, he turns his attention to a number of Bach’s cantatas.  Bach’s cantatas are not as well known as his sonatas.  Many audiences prefer the instrumentals because they are not confronted with the theocentric themes in the words that are a part of the cantatas.

The author has chosen selected cantatas to study in light of Heidleberg catechism questions and answers that focus on Christ’s substitutionary death, the resulting deliverance of Christians from sin’s guilt, and the ongoing discipling of Christians. Bach was a committed Lutheran; however, the passages quoted from the Calvinistic catechism echo the musical messages from Bach’s pen.  Stapert provides a good translation of these selections and then takes the reader through the accompanying music.

One sees the genius of Bach’s work and his commitment to basic theological truth – the despair of sinful man, the darkness of Christ’s death, and the jubilancy of Christ’s birth and His resurrection.  In each cantata, the reader is methodically taken through the music showing why notes ascend in one place and descend at another.  Explanation is given as to why one part is sung by tenors and another part by altos.

Bach sometimes incorporated medieval chants into his compositions.  These showed the continuity of Christianity down through the ages, as well as the unchanging gospel that Christians have believed from generation to generation.  As I read the explanations of these cantatas, I marveled at how Bach seemingly left no musical technique untouched in his desire to reflect the glory of the gospel.

Cantatas explained include l99, 4, and l40.  The author also turns to Bach’s “Mass in B Minor” and his Christmas Oratorio for further study.

Stapert explains the chiastic structure Bach evidences in his cantatas and gives thought as to how Bach can show so much freedom and joy in his highly disciplined, complex arrangements.  He has provided scripture texts that accompany the cantatas.

This book is written so that it can be used as a devotional resource.  Readers, unacquainted with music theory or appreciation, will receive informed insight regarding how to profitably listen to these works.  A helpful glossary is provided, but the musical novice may find a number of terms that he will have to look up in a dictionary.  Whether one is a musician or a Bach historian or neither, he can profitably read this well-written volume.  Most will come away with a greater appreciation of Bach and an understanding of how he incorporated so much sound theology into his music.  Stapert shows this repeatedly in the flow of the notes and even the keys in which the various compositions were written.

The author writes clearly and with great knowledge of his subject.   I gained an increased appreciation and amazement for Bach’s giftedness and his ongoing desire to exalt God.  He incorporated sound theology into his music.  Insights gleaned from Stapert’s work should enhance one’s enjoyment of Bach’s works.  May we be likewise challenged to labor for the glory of God wherever He has placed us.

Review ©2007 Byron Snapp, Hampton, Virginia