Other elements of his style include the concentrated and individual themes, the copious musical invention, balance between harmonic and contrapuntal forces, strength of rhythm, clarity of form, grandeur of proportion, imaginative use of pictorial and symbolic figures, intensity of expression always controlled by a ruling architectural idea, and the technical perfection of every detail. His style exhibits a mastery of counterpoint and a fusion of Italian, French, and German characteristics. At Leipzig, he wrote his cantatas and other church music, as well as the Goldberg Variations. At Cöthen, he wrote no church music, but rather clavier (The Welll-Tempered Clavier, Part I, 1722), or instrumental works (including the Brandenburg concerti, and the works for solo violin and solo cello), music for instruction and for domestic or court entertainment. During his time at Arnstadt, Mühlhausen, and Weimar, he wrote mostly organ compositions, including chorale preludes, several sets of variations on chorales, and some toccatas and fantasias which show influences of Buxtehude. He composed in almost all forms of his time, except for opera. Thomas's school and music director in Leipzig (1723-50). (1685-1750) Bach served as organist at Arnstadt (1703-07) and Mühlhausen (1707-08), as court organist and later concertmaster in the chapel of the duke of Weimar (1708-17), as music director at the court of a prince in Cöthen (1717-23), and as cantor of St.
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