The church cantata very quickly came to occupy a privileged place in Bach’s output, but it was in his Leipzig period that he explored new stylistic possibilities for the genre in several cycles. The third of these, mostly scored for relatively small forces, features in these Dialogkantaten three fine examples of the ‘madrigalian’ type: in their arias, recitatives and chorales, the composer deploys a poetry that does not exclude audacity and an eloquence worthy of opera.
Bach, J S:
Cantata BWV32 'Liebster Jesu, mein Verlangen'
Cantata BWV49 'Ich geh und suche mit Verlangen'
Cantata BWV57 'Selig ist der Mann'