Johann Kuhnau examined the death of his predecessor, Johann Schelle, in an important obituary. He praised Schelle's musical works, which enjoyed widespread acclaim and were considered a lasting legacy. Although Leipzig acquired Schelle's scores, they were soon damaged and ultimately lost. This fate reflects the changing musical tastes of the time, much like Bach's critical views on the musicality of his contemporaries. Schelle's gifted career began early and garnered considerable recognition in musical circles. His cantata performances thrilled audiences in Leipzig's main churches, as he composed with a novel, appealing style and a keen sense of impact. He knew how to captivate a broad audience, a quality that is still evident today. Due to the changes in the musical landscape of the late 17th century, Schelle developed a lighter, more melodic style and placed particular emphasis on clear structures, which is clearly reflected in his compositions. Schelle's oeuvre ranges from powerful settings of biblical texts to intimate chamber music pieces. He developed a concert aria cantata and refined the cantatas of his poet Heidenreich in a special way. His works testify to an aesthetic delicacy and simple beauty that were innovative and effective in his time. Among Schelle's noteworthy funeral motets is the double-choir setting of "Christus ist des Gesetzes Ende" (Christ is the End of the Law), which was performed at the funeral of a prominent Leipzig citizen. Similar to the motet "Komm, Jesu, komm" (Come, Jesus, come), which inspired Bach, Schelle demonstrates his sonic artistry and emotional depth here. His chorale cantatas, such as "Christus, der ist mein Leben" (Christ, who is my life) and "Vom Himmel kam der Engel Schar" (From Heaven Came the Angels' Host), were created in close collaboration with the inspiring pastor Johann Benedikt Carpzow and are characterized by festive splendor and musical diversity. These works illustrate Schelle's lasting influence on music history.
