The cantatas of Johann Sebastian Bach are among his most significant and celebrated compositions. "Cantata", literally, "a piece to be sung", was used in the 17th century to mean a variety of vocal compositions, the common feature being the inclusion of at least one piece for solo voice. Bach fused two types of cantatas -- the solo cantata with recitatives and arias and the chorale cantata with two or more movements based on chorale text -- to develop a new prototype for the church cantata. Bach's tremendous musical achievement occupied much of his time during his years at Leipzig where he held his final position as municipal Kapellmeister. In addition to the church cantatas, he composed sacred cantatas for functions like weddings. Typically, his cantatas open with a short orchestral prelude which is followed by an extended chorus, then solo singing interlaced with the chorales, and finally closing with a hymn. Bach composed over 300 cantatas. These intimate works offer a very personal view of his spirituality, of his vision of life and death, and of his lifelong devotion to his Creator. Later vocal music owes much to these cantatas, from the exquisite, delicate miniatures of Romantic period song-cycles to the grandiose choral exaltation of the closing movement of Beethoven's Ninth Symphony. In the 17th and 18th centuries composer wrote the music that their employers demanded of them. Unlike his close contemporary Handel, Bach never worked for an employer who was interested in or who promoted opera. In fact, much of Bach's life was spent in the employment of the church, which is why we have so many church cantatas, motets and the great Passions. Operas were supposed to be light entertainment. Bach wasn't famous for anything light at all; his music was considered too somber and complex by most of his contemporaries. Also, Bach did not like operas too much-- presumably because they all were the light entertainment they were supposed to be. It was the Brandenburg No. 2, after all, whose opening movement was chosen to be the first offering of human music sent out into galactic space on the “golden record” aboard the 1977 Voyager probes. Its formal structure represents one of Bach’s most daring innovations on the typical ritornello form of the concerto grosso. The delightful, three-way motivic rallies provide balance and energy to the two fast movements, an energy checked only momentarily by the two-note Adagio transition before bursting forth once again. With the final movement we hear yet another interpretation of the concerto style: the opening ritornello is essentially a fugue, the subject of which can subsequently be used in a variety of ways. Furthermore another traditional feature of the concerto - virtuosity - is provided by the violin part, something which by its very nature turns a fugue - brilliant enough on its own terms - into a dazzling concerto movement. Water Music, suite of short pieces for small orchestra by German-born English composer George Frideric Handel, known particularly for its highly spirited movements in dance form. Most of the pieces were originally intended for outdoor performance. George I planned his barge party, and asked Handel to provide music in the form of an orchestral composition for about 50 musicians; Handel responded with Water Music. Handel is a great example of the thought principles of the Enlightenment because he challenged old ways of thinking, and strived to achieve fame and personal goals. He challenged old ways of thinking because he rejected the technicality of music, and followed his instincts. This was not a common musical practice during that time. He gave up on his father's idea of him becoming a lawyer, also not a common thing to do, and followed his own interests. He pursued his own personal goals and fame. This is what we know as normal in modern society, but back then it was an entirely new way of thinking and living.