Friedrich Wilhelm Zachow found importance in his day being a author of keyboard music and church cantatas, but today his name arises nearly exclusively being a teacher of Handel. He himself had opted to college in Leipzig, probably at the institution for kids of poor households, and he got an excellent training in body organ. When Zachow reached his teenagers, his family shifted to Eilenburg, where he continuing his education. Right before his twenty-first birthday, Zachow resolved for the others of his lifestyle in Halle, where he was called organist on the Marienkirche. He also aimed instrumentalists and the city choir in shows there every third Weekend, and got on several young learners, including Handel. Although a considerable part of Zachow’s catalog continues to be lost and the rest of the works aren’t always simple to date, you can nearly make use of his compositions to track the introduction of German cathedral cantatas from Heinrich Schutz to J.S. Bach. You can find types of the outdated “sacred concerto,” the greater madrigal-like cantata type preferred during Bach’s period, and various components that fall between those two quite different designs. Unlike Bach, Zachow got little make use of for basic chorales in the cantatas; his choral composing is at four or even more wealthy parts and contains some kind of accompaniment. On the other hand, chorales form the foundation of all of Zachow’s body organ music, including chorale fugues that most likely influenced the youthful Bach.