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The first part of the article outlines the tradition which gave shape to the Baroque musical rhetoric. Among its constitutive elements were the style of the Florentine Camerata with its insistence on the role of speech in musical composition; Athanasius Kircher’s doctrine of the affects (Affektenlehre); Johann Mattheson’s model of the aria and Joachim Burmeister’s idea of musical figures. The second part of the article contains a rhetorical interpretation of Johann Sebastian Bach’s Cantata No.4 BWV "Christ lag in Todesbanden". The interrelationship between the words and the musical structure of the cantata is described and analyzed with the help of concepts from the field of musical rhetoric. The summary considers the significance of this interpretation of Bach’s composition for contemporary musical life

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Związki retoryki i muzyki – kantata Christ lag in Todesbanden Jana Sebastiana Bacha / Rhetoric And Music: Johann Sebastian Bach’s Cantata Christ Lag in Todesbanden