He saw through the rigorous formation of the cantata an instrument to bring a certain order into individual existence as well, with the Lutheran religion as the middle element (Schrade, 1946). In reference to the previous subchapter on Lully, we should point out towards the fact that, while for Lully, royal patronage was essential for the characteristics of his creation and, in fact, the direct source of inspiration and ultimate goal, Bach used the civic appointment to rise above the actual demands and only use the pretext of needing to compose cantatas for a perspective to go beyond and ensure that his musical vision was reached. In Lully's case, patronage determined musical vision, for we cannot see Lully's music otherwise than in the role of a grandiose propaganda instrument for the French absolute monarchy. In the case of the Leipzig town council, the limited objectives did not affect Bach's ideal in any way and he was able to reach the rigor he had searched in musical creations.

Conclusions

Patronage in the period of glory for Baroque music greatly influences the portfolio of compositions. This happens, at least in part, depending on the composer and the role he is playing within the patron-composer relationship. In the case of Lully, for example, the influence was total, in the sense that Lully's works existed only within the framework defined for him by the absolute monarchy. All his works are designed as a propaganda and promotional material for the glory of France, its monarchy and absolute ruler, King Louis XIV. Ranging from the ampleness of his operas, to the fact that he is one of the first to promote the idea of a French opera and to the machineries that are used to make grandiose spectacles - everything points out that...

Bach needs to compose cantatas, but only because this is part of his job as a Kantor. The council does not impose the structure of the work, nor the approach and Bach has sufficient liberty to transpose his ideas into reality. He takes this opportunity to develop the rigor of musical composition and the cantatas have remained recognized as such.
Corelli's patronage influence is somewhere in between these two extreme examples. His work is dedicated for Christmas and there is certainly an influence from his patron there, but not to a degree that he needs to defend ideals of the Roman Church.

Bibliography

1. Schrade, Leo. 1946. Bach: The Conflict between the Sacred and the Secular. Journal of the History of Ideas. University of Pennsylvania Press

2. Isherwood, Robert. 1973. Music in the Service of the King. Ithaca and London: Cornell U.P.

3. Isherwood, Robert. 1969. The Centralization of Music in the Reign of Louis XIV. French Historical Studies. Society for French Historical Studies

4. Bach's Cantatas: a Brief Orientation. On the Internet at http://www.baroque-music-club.com/cantatas.html.Last retrieved on September 30, 2007

5. Proctor, Gregory. 2006. A Schenkerian Look at Lully. Journal of Seventeenth - Century Music. Volume 10, no. 1

6. Ken Pierce and Jennifer Thorp. 2006. The Dances in Lully's Persee. Journal of Seventeenth - Century Music. Volume 10, no. 1

7. J.S. Bach Biography: Leipzig. On the Internet at http://www.carolinaclassical.com/bach/leipzig.html.Last retrieved on September 30, 2007