- 1. Principal (open diapason), 4 ft.[14]
- 2. Still gedact, 8.
- 3. Spitzflöte, 4.
- 4. Quint, 3.
- 5. Sesquialtera.
- 6. Nacht-horn, 4 ft.
- 7. Mixture, 4 ranks.
- 8. Octava, 2 ft.
- 9. Glockenaccord.
Pedal.
- 1. Principal, 8 ft.
- 2. Sub-bass, 16.
- 3. Posaune, 16.
- 4. Violon bass, 16.
- 5. Octava, 2.
- Couplers for manuals and pedals.[15]
The keyboards, of which we give a photograph, are preserved in the Rathhaus. The instrument was built by Wender of Mühlhausen in 1703.
Bach had also the direction of a small school choir, which was augmented by “adjuvanten” or amateur singers, and he had to accompany and attend the rehearsals of the church choir, besides which he probably played the violin in the Count’s band. There was also a theatre belonging to the Count, in which “Singspielen” or operettas were occasionally performed.
First Cantata
The cantata for the first day of Easter, “Denn du wirst meine Seele nicht in der Hölle lassen,” which was afterwards remodelled for use at Leipsic, was composed at Arnstadt, probably for Easter 1704.[16] It was his first cantata, and is in character similar to those in vogue in Northern Germany.
It consists of a short introductory sonata, for three trumpets, drums, strings and organ, then a bass solo, “For thou shalt not leave my soul in hell,” in which are important ritornels. This is followed by a recitative, a duet for soprano and alto in Italian aria form,[17] a tenor solo, “Be not dismayed,” after which the cantata closes with a soprano aria, “Up soul, and be joyful.”
During his stay at Arnstadt he chiefly cultivated instrumental music and composition, and, according to Mizler, began to show his eminence in organ-playing.
In 1704, Johann Jacob, Sebastian’s elder brother, who had entered the Swedish Guard as an oboe-player, came to bid farewell to his family and friends. For him Bach wrote the early “capriccio on the departure of his beloved brother.” This was modelled on Johann Kuhnau’s “Bible Sonatas.”[18]