This chapter takes Carl Philipp Emanuel Bach’s baptismal certificate as a point of departure for exploring how Johann Sebastian Bach’s personal and professional relationships during the Weimar years can help illuminate his otherwise poorly documented musical interests in March 1714. He and his first wife, Maria Barbara, selected two musicians – Georg Philipp Telemann and Adam Immanuel Weldig – to stand as godfathers to their newborn son. This move signaled friendship and trust in each man’s potential to guide the future of the next generation of Bach family musicians. Telemann, Weldig, and J. S. Bach were all young men at the time of the baptism, enjoying blooming musical careers. Weldig was engaged at the musically adventurous court of Weißenfels, while Telemann, working in Frankfurt am Main, was a highly prized musical guest at the Weimar ducal courts. Bach was actively engaged both with the repertories performed at Weißenfels and the latest Italianate instrumental styles represented by Telemann’s music. Using Bach’s Cantata BWV 54 (Widerstehe doch der Sünde) as a case study, I show how such diversity is reflected in the way Bach’s and Telemann’s compositions are in dialog with contemporary musical language and, at times, with each other.