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CORNELL

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,,, , Cornell University Library

ML 410.B1183W72

Bach,

3 1924 017 579 552

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http://www.archive.org/details/cu31924017579552

Edited bt
FREDERICK J. CROWEST.

The

Master Musicians

Edited by

FXEDEKICE J. CrOWIBT

LIST OP VOLUMES.

BACH. By C. F. Abdy Wiixuhs.

[Fourtfi Edition.
BEETHOVEN. By F. J. Crowist.

[Eighik Edition.
BRAHMS. By J. Lawrence Erb.

[Saond Edition.
CHOPIN. By J. CuiHBERT Hidden.

[Fourth Edition.
HANDEL. By C. F. Abdy

Williams. IThird Edition.

HAYDN. By J. Cuthbert Hadden.

[Second Edition.

MENDELSSOHN. By Stephen S.

Stratton. [Fifth Edition.

MOZART. By E. J. Breakspeare.

[Third Edition.

SCHUBERT. By E. Duncan.

[Second Edition.

SCHUMANN By Annie W.

Patterson. [Second Edition.

TCHAIKOVSKY. By Edwin Evans.

ISecond Edi on
WAGNER. By C. A. Lidgey.

[Fourth Edition.

-fj^.'^i^n.^^ici^ ,^J^'./zt>-7/ryi,okMJp^7 J?/ C^^r■/l'^^■/i.)J^^£y^JA■Y''..MA,\n/^■</rLa/■-
£6- A^

Bach

C. F. Abdy WilUams

M.A. Csntab. ; Mug. Bac, Oxon. et Canub.

With
Illustrations and Portraits

London: J. M. Dent Of Sons Ltd.
New York : E. P. Dutton & Co.
1921

First Published . . 1900
Reprinted . . ■ 1903. 1906, 1921

Preface

The position of Johann Sebastian Bach as one of a
numerous family of musicians is unique. Of no other
composer can it be said that his forefathers, contemporary
relations, and descendants were all musicians, and not
only musicians, but holders of very important offices as
such. All his biographers have therefore given some
account of his family antecedents before proceeding to
the history of his life ; and I have found myself obliged
to follow the same course. In other respects I have
adopted the plan made use of by the older biographers,
of keeping the account of his life distinct from that of
his compositions.

Every biography is necessarily based on that written
by his two sons, four years after his death, published by
Mizler, and the one published in 1802 by Forkel, who
was intimate with the sons. Hilgenfeldt's account follows
these, and in later years further information has been
acquired from the searches into archives, and other
ancient documents, by C. H. Bitter and Philipp Spitta.
Any details concerning the life and works of this remark-
able man are interesting; and it is probable that
researches will be continued for some time to come.
Thus, last year (1898) a "celebration" took place at
Ohrdruf in memory of Bach's school career there; and

Preface

Dr Friedrich Thomas took the opportunity of publishing
some details of the Bach family which had escaped Spitta.

The name of Bach is reverenced by Thuringian organ-
ists, and I this year had interesting conversations with his
successors at Arnstadt and Miihlhausen, Herr Kellermann
and Herr Moller. But the chief music-seller at Arnstadt
told me that " Bach's music is out of date ; no one
has now any interest in such old-fashioned compositions."

The two recent important accounts of Bach's life are
those of C. H. Bitter, 1865, 2 vols.; second edition
1880, 4 vols. ; and Philipp Spitta, 2 vols, a translation
of which by Mrs Clara Bell and Mr FuUer-Maitland was
published by Messrs Novello in 1884. With regard to
the last, I have to thank Messrs Novello for kindly
allowing me the use of the book at a time when it was
out of print. I understand that a second edition has
since been published.

References to Spitta apply to the first edition of the
translation ; all others to the original German.

C. F. ABDY WILLIAMS.
Bradfield,
Dicemhtr 1899.

Contents

PAGS

PREFACE V

CHAPTER I

The Bachs of Thuringia — Veit Bach, the ancestor of John Sebastian — His
sons and descendants— A breach of promise of marriage — ^J. Christoph
Bach of Amstadt — His cantata ''Es erhob sich ein Streit" — John
Michael Bach of Gehren — His character — His compositions — J.
Christoph Bach of Ohrdruf and his descendants — The sons of John
Sebastian Bach — The clan feeling — A sixteenth century q-uodUbet . i

CHAPTER n

Bach's attitude towards art — His birth— The death of his father — Moves to
Ohrdruf — Performances in the Ohrdruf choir — Removal to Lune-
burg — His industry as a boy — Expeditions to Hamburg and Celle —
Joins the Court Orchestra at Weimar — Is appointed organist at
Arnstadt — Troubles with the church authorities — Successfully com-
petes for a new post ....... ao

CHAPTER ni

Bach's salary — He borrows a cart from the Consistory for his furniture—
The agreement is made verbally — Bach's first marriage — His dutiei
at St Blasius— The festival compositions — Repairs to the organ—
Difficulties with the Pietists — He resigns his post — Is appointed
chamber-musidan at Weimar — His duties there— His relations with
Walther — Studies instrumental music -^ His journeys — His compe-
tition with Marcband ....... 34

CHAPTER IV

Bach becomes capcllmeister to the Duke of Cfithen— His Weimar pupils—
His new duties — Death of his wife — Journey to Hamburg — He com-
petes for an organistship there— The post is sold — Disgust of Mathe-
son at the transaction— Bach endeavours to meet Handel — His second
marriage — Is obliged to leave Cdthen • .... 48

vii

Contents

CHAPTER V

The poiition and duties of the Cantor of St Thomas' School at Leipsic
—The condition of the school in 1722— Kuhnau's death— Competition
and election of two cantors in succession — Bach ofTers himself — Is
elected—Difficulties with the authorities— The Council make irritating
regulations — Bach endeavours to leave Leipsic — Election of a new
Rector, and temporary disappearance of Bach's troubles . . 59

CHAPTER VI

Home life at Leipsic-'Personal details — Music in the family circle — Bach's
intolerance of incompetence — He throws his wig at Gorner— His
preference for Che clavichord — Bach as an examiner — His sons and
pupils— His general knowledge of musical matters — Visit from Hurle-
busch— His able management of money — His books and instruments—
The Dresden Opera— A new Rector, and further troubles — Bach com-
plains to the Council. ...... 77

CHAPTER VII

Bach obtains a title from the Saxon Court — Plays the organ at Dresden —
Attacked by Scheibe— Mizler founds a musical society— Further dis-
putes — Bach's successor chosen during his lifetime — ^Visit to Frederick
the Great — Bach's sight fails — Final illness and death — Notice in the
Leipsic ChronicU—1h^ Council— Fate of the widow and daughter , 84

CHAPTER VIII
The Cantatas and the Chorale . . . . . gi

CHAPTER IX

The Matthew Passion and B Minor Mass . . , , • 11-I

CHAPTER X

The Wohltemperirte Clavier— The Art of Fugue— The Musical Offering-
Bach as a teacher— Bach's works in England . . . '131

CHAPTER XI

The Christmas Oratorio—The Magnificat — The lost works — Instrumental

works— Bach's playing — The Manleren or grace notes , , , X44

viii

Contents

CHAPTER XII
Innovations in the fingering and use of keyed and stringed instruments 151

CHAPTER XIII

The organs in Leipsic churches — Bach's method of accompanying — The

pitch of organs *.....>• 1^0

CHAPTER XIV

Bach as " Famijien-Vater " — As a choirmaster— His eagerness to learn all
that was new and of value in music — He finds time to conduct public
concerts — His self-criticism— Bach was never a poor man — His repu-
tation was gained by his playing rather than compositions— Portraits
— Public monuments . , • ■ • • .170

CATALOGUE OF VOCAL WORKS J77

CATALOGUE OF INSTRUMENTAL WORKS . . . .191

BIBLIOGRAPHY aoj

GLOSSARY joj

List of Illustrations

Portrait of Bach, by Hausmann (Photo-
gravure) ..... Frontispiece

PAGE

The House at Eisenach in which J. S.

Bach was Born .... To face 3i

St Michael's Church, Ohrdruf, with the

Lyceum, now the Burgerschule . „ 22

The Keyboard of Bach's Arnstadt Organ,

now in the Rathhaus . . . „ 27

The Thomasschule at Leipsic . • „ S9

St Thomas' Church, Leipsic : the Thomas-
schule is on the right . . . „ 68

St John's Church, Leipsic . . . „ 89

Facsimile of Music . . . . „ 133

The Performance of a Church Cantata,

FROM WALTHER'S LEXICON, LEIPSIC, 1 732 „ 204

Chapter I

The Bachs of Thuringia — Veil Bach, the ancestor of John Sebastian —
His sons and descendants — A breach of promise of marriage — J.
Christoph Bach of Arnstadt — His cantata ' ' Es erhob sich ein Streit "
— John Michael Bach of Gehren — His character — His compositions
— ^Joh. Christoph Bach of Ohrdruf, and hU descendants — The sons
of Joh. Sebastian Bach — The clan feeling — A sixteenth century
guddliiet.

John Sebastian Bach came of a large family of Thurin-
gian musicians, whose members have been traced back to
the first decade of the sixteenth century. The name
frequently occurs in the sixteenth and seventeenth cen-
turies among the inhabitants of Arnstadt, Erfurt, Grafen-
rode, Molsdorf, Rockhausen and other villages ; and that
it has not yet disappeared is shown by the fact that the
Erfurt Directory for 1899 contains the addresses of no
less than thirteen Bachs.

The subject of this biography considered that the
founder of his family was Veit Bach, who had settled
at Presburg in Hungary as a baker and y,,

miller. Owing to religious persecution, how- p a f
ever, he sold what he could of his property, , j, .j
returned to Thuringia with the proceeds, and ■^

settled at the village of Wechmar near Gotha. Here
he recommenced his trade, and occupied his leisure with

Bach

the cithara, or cither, even taking it to the mill, where he
played it to the rhythmical tapping of the wheels. " He
must," says John Sebastian, "at any rate have learned
time in this way.'' The date of his birth is unknown.
He died 1619 and left two sons, Hans and Johannes.
All his descendants, to the number of Sixty, were, with
only two or three exceptions, musicians. Hans Bach,
the great-grandfather of John Sebastian, was a weaver
by trade as well as a musician. His father, Veit,
sent him to Gotha to study music under a relative,
Caspar Bach, the "town piper." In his capacity of
"Spielmann" or "Player" Hans travelled about to
different towns in Thuringia to take part in the " town
music" with his violin, and as he was also very
humorous he became popular, and twice had his por-
trait painted. He died of the plague in 1626. He
seems to have left several children, of whom three
were musicians —

JoHANN, 1 604-1 6 7 3.
Christoph, 1613-1661.
Heinrich, 1615-1692.

The following genealogy will enable the reader to dis-
tinguish the various members of this remarkable family.
The names of sons only are given, as the daughters do
not appear to have distinguished themselves. The list of
nearly sixty names is not, however, by any means exhaustive.
Spitta gives many more, and there were of course a great
number whose names are entirely lost, for a peasant and
artisan family is not usually careful to keep its genealogical
tables in order.

Genealogy

THE BACH FAMILY.
(From Hilgenfeldt.)

1. Vbit Bach, 155- -i6i-, the Founder.

Sons of Ye\t.

2. Hans d. 1626. 3. Johannes . . .

Sons of Hans.
4. Johann, 1604-1673. 5. Christoph, 1613-1661. 6. Heinrich,
1615-1692.

Sons ^Johann (No. 4).
7. Johann Christian, 1640- 1682. 8. Johann iEciDius, 1645-
'7I7' 9- Johann Nicolaus, 1653-1682.
Sons 0/ Christoph (No. 5).
10. Georg Christoph, 1642-1697. 11. Joh. Ambrosius, 1645-
1695. 12. Joh. Christoph, 1645-1694.

Sons (>/ Heinrich (No. 6).
13. Joh. Christoph, 1643-1703. 14. Joh. Michael ... ij.
Joh. GiJNTHER . . .

Sons o/Joh. Christian (No. 7).
16. Joh. Jacob, 1668-1692. 17. Joh. Christoph, 1673-1727.

Sons of Joh. iEgidius (No. 8).
18. Joh. Bbrnhard, 1676-1749. 19. Joh. Christoph, 1685-174-

Son o/Joh. Nicolaus (No. 9).

20. Joh. Nicolaus, 1682- 174-.

Sons (/Georg Christoph (No. 10).

21. Joh. Valentin, 1669-1720. 22. Joh. Christian, 1679-1707.

23. Joh. Georg, 16 — 17 — .

Sons of Joh. Ambrosius (No. 11).
24. Joh. Christoph, 1671-1721. 25. Joh. Jacob, 1682-171-,
26. JOHANN SEBASTIAN, 1685-1750.

Sons of Joh. Christoph (No. 12).
27. Joh. Ernst, 1683-173- 28. Joh. Christoph, 1689-1736.

Sons of Joh. Christoph (No. 13).
29. Joh. Nicolaus, 1669-1740. 30. Joh. Christoph . . ,
31. Joh. Friedrich ... 32. Joh. Michael . , ,

Bach

Children 0f]oh. Michael (No. 14).

33. JoH. LuDwiG 1677-1730. Maria Barbara (first wife of Joh.

Sebastian).

Sons o/Joh. Christoph (No. 17).

34. JOH. Samufx, 1694 ... 35. JOH. Christian, 1696 . , .

36. JOH. GiJNTHER . . .
Son o/Joh. Bernhard (No. 18).

37. JOH. Ernst, 1722-1781.

Sons o/]6h. Christoph (No. 19).

38. Jon. Friedrich, 1703 . . . 39. Joh. August, 17 . . .

40. WiLHELM HiERONYMUS, 17 . . .

Sons of Job. Valentin (No. 21).
41. Joh. Lorenz, 1695 ... 42. Joh. Elias, 1705-1755.
43. Joh. Heinrich . , .

Sons o/Joh. Christoph (No. 24).
44. Joh. Friedrich, 1695 ... 45. Joh. Bernhard, 1700-1742 (?)
46. Joh. Christoph, 1702-1756. 47. Joh. Heinrich,
1707 . . . 48. Joh. Andreas, 1713-175-.

Sons o/Joh. Sebastian (No. 26).
49. WilhelmFriedemann, 1710-1784. 50. Joh. Christoph and
a twin brother, 1713 + same year. 51. Carl Philipp
Emanuel, 1714-1788. 52. Joh. Gottfried Bernhard,
I7IS-I739. 53- Leopold August, 17x8-1719. 54.
Gottfried Heinrich, 1724-1736 (?). 55. Christian
Gottlieb, 1725- 1728. 56. Ernst Andreas, 1727 -f
same year. 57. JoH. ChristopiI Friedrich, 1732-1795.
58. Joh. Aug. Abraham, 1733-1734. 59. Joh.
Christian, 1735- 1782. 6°- (^ daughters).

Johann (No. 4) was born at Wechmar. He was
apprenticed to the town piper of Suhl and became organist
at Schweinfurt. In 1635 he married the daughter of his
former master, and became director of the town musicians
at Erfurt. During the time he was there the city was
suffering terribly from the effects of pillage and quarter-
ing of soldiers, poverty and disorder; yet Johann Bach

Music and War

managed to found a family which multiplied rapidly, and
soon filled all the town musicians' places, so that for some
century and a half, and long after no more of the family
lived in the place, the town musicians were known as
"The Bachs."

He married twice, his second wife being Hedwig
Lammerhirt.

He was organist of the Prediger Kirche at Erfurt, and
was called by his contemporaries an " illustrious musician,"
and he in a kind of way forestalled John Sebastian in
being skilful in both sacred and secular, vocal and
instrumental music.

The three towns of Erfurt, Arnstadt and Eisenach, now
became the chief centres of the Bach family.

Christoph Bach (No. 5), the grandfather of Sebastian,
bom at Wechmar, entered the service of the Grand Duke
of Weimar as lackey and musician. In 1642 he was a
member of the Guild of Musicians at Erfurt, and in 1654
was Court and Town musician at Arnstadt, where his
younger brother Heinrich was living. He does not seem
ever to have been an organist, but a " Kunstpfeifer."

During the Thirty Years' War the town pipers and
musicians had sunk very low in public estimation, and
about the middle of the seventeenth century _, rp,-.
a strong effort was made by their various y j ytr
guilds to raise themselves to a more dignified
position, in keeping with the worthiness of their calling.
To this end they combined in drawing up a code of
statutes, which was ratified by the Emperor Ferdinand
III. ;^ the Bach family seem, however, to have kept
aloof from this combination, and there is no doubt that
' See Glossary, "College of Instrumental Musicians."

Bach

they were better educated than the majority of town
musicians.

Heinrich (No. 6) was appointed organist of the Fran-
ciscan Church at Arnstadt in 1641, which office he filled
for fifty years. He suffered severely from the war, which
disorganised everything, and his salary, like that of every
one else, got into arrears. Moreover there were war taxes
to be paid, and the soldiery seem to have robbed and
plundered at their will. He petitioned the Count of
Schwarzburg for his salary as he "knew not where to
find bread for himself and his young family." The
Count ordered his salary to be paid, but the keeper
of the funds immediately resigned. It is supposed that
Bach managed to eke out his existence by cultivating a
small plot of land which it was usual to give to organists
in Thuringia as part of their salary. He kept to his
pious and simple life all through the horrors of the times,
(which reduced the mass of the people to a state of coarse-
ness and immorality), and brought up six children, three
of whom became famous musicians in their day. In the
funeral sermon preached by Olearius, he is mentioned as
the composer of chorales, motets, concertos, fugues and
preludes, but few of his compositions have been preserved.

Johann Christian Bach (No. 7), a viola player and
music director, belonged to Erfurt, whence he went to
Eisenach, being the first of his family to settle there.

Johann ^gidius Bach (No. 8) became director of the
town musicians and alto-viola player at Erfurt in succes-
sion to his brother Joh. Christian (No. 7) and his cousin
Ambrosius (No. 11) when they moved to Eisenach.
Like several others of his clan he married the sister of his
elder brother's wife, and soon after became organist of

J. Ambrosius Bach

St Michael's Church, which post he held to an advanced
age.

John Nicolaus Bach (No. 9) was a town musician and
good performer on the viola-da-gamba. He died of the
plague in 1682.

Georg Christoph Bach (No. 10), born at Erfurt, was an
usher in a school at Heinrichs near Suhl, but became
cantor,, first at Themar, near Meiningen, and afterwards
at Schweinfurt, where he died. He was a composer, but
his works are all lost.

Johann Ambrosius Bach (No. 11), the father of John
Sebastian, was twin brother to Johann Christoph (No. 12).
The two brothers had a most remarkable likeness, not
only externally but in character and temperament. They
were both violinists and played in exactly the same style ;
they thought and spoke alike, and their appearance was so
similar that it is said their own wives could not distinguish
them apart. They suffered from the same illnesses, and
died within a few months of one another.

Ambrosius first settled at Erfurt as an alto-viola''
player, and was elected a member of the Town Council.
Here he married Elizabeth Lammerhirt, the daughter of
a furrier, and a relation of Hedwig the wife of Johann
(No. 4). He now moved to Eisenach, and was suc-
ceeded at Erfurt by his cousin ^gidius (No. 8). He
undertook the care of an idiot sister who died shortly
afterwards, and for whom a funeral sermon was preached,
in which the Ba,ch brothers are referred to as being " gifted
with good understanding, with art and skill, which make

^ The violas were divided into alto, tenor and bass, as the trombones
are now. The leading stringed instrument was called discant-viola
or discant-violin.

Bach

them respected and listened to in the churches, schools,
and all the township, so that through them the Master's
work is praised." Little is known of the life of Ambrosius
beyond the fact that he is mentioned in the church
register at Dornheim as "the celebrated town organist
and musician of Eisenach." Six children were born, the
youngest being Johann Sebastian.

Johann Christoph Bach (No. 12) was Court musician
to Count Ludwig Giinther at Arnstadt. The first thing
we hear of him relates to a kind of action for breach of
promise of marriage brought before the Consistory at
Arnstadt by Anna Cunigunda Wiener, with whom he
had "kept company" and exchanged rings. The Con-
sistory (a spiritual court) decided that Bach must marry
her, but, with the independence of character which was
peculiar to his family, he refused and defied them — an
unheard-of thing for a musician to do in those days
— declaring that he "hated the Wienerin so that he
could not bear the sight of her."^ The case lingered
for two and a half years, and ended in his favour. He
remained single for many years afterwards, marrying
eventually a daughter of the churchwarden of Ohrdruf.

Quarrels between Graser, the town musician, and Johann
Christoph Bach led to the dismissal of all the Court
musicians on account of the disunion which made it im-
possible for music to prosper. For a time, therefore, he
had to make a meagre living by "piping before the
doors," but after the death of the Count his successor
reappointed Bach " Court musician and town piper." At
this time Adam Drese was Capellmeister at Arnstadt, and
there exist catalogues of the Court musicians which are
' Sjpitta, vol. i. p. 162.
8

J. Christoph Bach

of interest as showing the kind of musical establishment
that prevailed at the petty courts in Germany. One of
these catalogues gives the names of seven singers, four
violinists, three viola players, a contrabassist, and the
organist Heinrich Bach (No. 6).

There were trumpeters, and extra singers from the
school, who could also play stringed instruments, so that
on occasion a very respectable string orchestra _,,

was available, consisting of twelve violins, three ,

alto violas, three tenor violas, two bass viols,
and a contrabasso. The violoncello does not . ,

seem to have been represented. Christoph
Bach's income in later life was sufficient not only to raise
him above want, but to enable him to leave something to
his family, on his death, in 1694, at the age of forty-eight.

Johann Christoph Bach (No. 13) was born at Arn-
stadt, and studied under his father Heinrich (No. 6).
He was appointed organist at Eisenach in 1665, which
post he held till his death sbcty years later. He and his
brother Michael (No. 14) were born during the worst
time of the disturbance produced by the war, yet such was
the vigour of their race that, uninfluenced by the general
degeneracy and misery, they both became celebrated
composers, Michael leaning towards instrumental, and
Christoph to vocal music. An important church work,
describing the strife between Michael and a /-/i h
the Devil, " Es erhob sich ein Streit," is n t t
fully described with musical quotations by
Spitta (vol. i. p. 45, &c.). For its performance it
required two five part choirs, two violins, four violas,
one bassoon, four trumpets, drums, double bass, and
organ. The cantata is preceded by a " sonata " for the

Bach

instruments, without trumpets and drums, something
in the form of the French overture. The work itself
is modelled on those of Hammerschmidt, who, with
Schiitz, created a form which culminated in the Handel
oratorio. Spitta says that it shows "power of invention
and genius," and that "it was impossible that so im-
portant a composition should fail to make an impression
on many sincere artistic natures, in spite of the small
amount of intelligent sympathy which was shown for
Johann Christoph Bach, alike by his contemporaries and
by posteritj." Sebastian Bach thought very highly of his
uncle's work, and performed it at Leipsic.

Johann Christoph composed many chorale-vorspiele for
the organ, of which forty-eight are preserved in a MS.
formerly belonging to Spitta. The themes are worked
out on the same lines as those of John Sebastian, but in
a more elementary form. His vocal compositions are,
however, much in advance of his instrumental works, and
he seems certainly to have been the most important
member of his family before his great nephew appeared.

Johann Michael Bach (No. 14) was an accomplished
organist. His character may be imagined from the
account of his appointment to the organistship of Gehren
near Arnstadt, when we are told that after his examina-
tion, the authorities thanked the Count for having sent
. them a peaceable, retiring, and skilful per-

. , former. He was also made parish clerk, and

. * his income from the two posts amounted

income . ..,, „ j r j

to 74 gulden, 18 cords of wood, 5 measures

of corn, 9 measures of barley, 3^ barrels of beer,

some land, and a house free of rent. Besides being

a composer he made clavichords and violins. His

Other Bachs

youngest daughter became Sebastian Bach's first wife. A
cantata on " Ach ! bleib bei uns, Herr Jesu Christ " by
him is preserved in the Bach archives in the Royal
Library at Berlin, "full of interesting details and in-
genious ideas." ^ It is scored for four voices, two violins,
three violas, bassoon, and organ, and is preceded by a
" sonata." Twelve of his motets are preserved, but they
are incoherent in structure, being composed in a time of
transition. Some of them are to be accompanied by
strings which double the various voice parts, and ten of
them are interwoven with chorales. In " Das Blut Jesu
Christi" for five voices "the deep feeling of the com-
positions overcomes us with irresistible power, and one
forgets the imperfection of the body in the beauty of the
soul which shines through." ^ Four of the motets are for
double chorus and in some one can feel "the romantic
spirit of Sebastian Bach."

Johann Giinther Bach (No. 15) was a good organist,
and deputised for his father when absent from Arnstadt.
Little is known of his Ufe, but Hilgenfeldt says he is men-
tioned as a capable instrument maker as well as organist.

Johann Jacob Bach (No. 1 6) did not follow the musical
profession.

Johann Christoph Bach (No. 17), also born at Erfurt,
was cantor and organist of Unterzimmern near, Erfurt.
In 1698 he succeeded Michael Bach in the Cantorship
at Gehren. He was threatened with removal by the
Arnstadt authorities on account of his temper, though
the threat was never carried out. He died in 1727.

Johann Bernhard Bach (No. 18), born at Erfurt, was
at first organist in his native town, then at Magdeburg
1 Spitta, vol. i. p. 52. ' Spitta.

Bach

and afterwards succeeded Johann Christoph (No. 13) in
1703, as Court and town organist at Eisenach, and was
also made Chamber Musician to the Duke of Sax-Eisenach,
Of his compositions there remain four suites for orchestra,
some small pieces for cembalo and some chorale arrange-
ments. According to Spitta he was one of the most able
composers of his time, following the lines of Pachelbel.
His orchestral works were so esteemed by John Sebastian
that he copied them, and the copies still exist.

Johann Christoph Bach (No. 1 9) was " Raths-Musik-
director" (Town Council Musical-director) at Erfurt, in
succession to ^gidius.

Johann Nicolaus Bach (No. 20), a surgeon, settled in
East Prussia, where he brought up a numerous family.

Johann Valentin Bach (No. 21) was town musician
and head watchman at Schweinfurt.

Of Johann Christian Bach (No. 22), and Johann Georg
(No. 23), nothing is known.

Johann Christoph Bach (No. 24), the elder brother of
Sebastian, organist and schoolmaster at Ohrdruf, was a
pupil of Pachelbel, and appears to have made some
reputation as a musician, since he refused an invitation
to go to Gotha as organist, on account of an increase of
salary being given him at Ohrdruf.^

Johann Jacob Bach (No. 25) entered the Swedish

* During a visit to Ohrdruf in August 1899, Herr Landrathamts-
Secretar Kellner kindly gave me the following information. The
descendants of J. S. Bach's eldest brother continued to live in
Ohrdruf until 1863, as cantors, clergymen, schoolmasters, lawyers,
etc. There are at present living in direct descent Herr Herrmann
Julius Bach, Merchant, of Budapest, Herr Alfred Wilhelm Bach,
Apothecary, of Witten, and two young sons of the latter,

More of the Family

guard as oboe-player. He followed Charles II. of Sweden,
and took part in the battle of Pultawa, and, after a stay at
Bender in Turkey, retired to Stockholm as Court musician.

Johann Sebastian Bach (No. 26).

Johann Ernst Bach (No. 27) was organist at Arnstadt,
while Johann Christoph Bach (No, 28) went into the
grocery trade.

Johann Nicolaus Bach (No. 29) was University and
Town organist at Jena, and after having travelled to Italy
for study, returned to Jena, where he remained till his
death at the age of eighty-four. He was an able com-
poser, of whose works, however, only a mass remains,
which is much praised by Spitta.

Johann Christoph Bach (No. 30) taught music in
Hamburg, Rotterdam, and finally in England.

Johann Friedrich Bach (No. 31) succeeded J. Sebastian
as organist at Miihlhausen, the only member of his
family who is mentioned as unsatisfactory in character,
he being given to drink. Gerber calls him by mistake
Johann Christoph.

Johann Michael Bach (No. 32) was an organ-builder.
He went to Sweden, and all traces of him were lost.

Johann Ludwig Bach (No. 33) held the post of capell-
meister to the Duke of Sax-Meiningen. His compositions
were highly valued by Johann Sebastian, who copied
many of them. Hilgenfeldt distinguishes him as a fine
church-composer.

Johann Samuel Bach (No. 34), and Johann Christian
Bach (No. 35), settled at Sondershausen as musicians.

Johann Giinther Bach (No. 36) was tenor singer and
schoolmaster at Erfurt.

Johann Ernst Bach (No. 37) studied law and became

Bach

a barrister, but was also an organist and composer. He
died in 1781 as Capellmeister to the Count of Weimar.

Johann Friedrich Bach (No. 38) became a school-
master, as did also his brother Johann .(Egidius (No.
39). Of Wilhelm Hieronymus (No. 40), nothing is
known. 1

Johann Lorenz Bach (No. 41) was organist at Lahm
in Franconia.

Johann Elias Bach (No. 42) studied theology, and
became cantor and school-inspector at Schweinfurt, his
native town.

Of Johann Heinrich Bach (No. 43) nothing is known.

Tobias Friedrich Bach (No. 44) was cantor of Ude-
stadt, near Erfurt.

Johann Bernhard Bach (No. 45), according to Adlung,
was a capable composer and organist.

Johann Christoph Bach (No. 46) filled the double role
of cantor and schoolmaster at Ohrdruf.

Johann Heinrich Bach (No. 47) was cantor at Oehrin-
gen, in Wiirtemburg, and musician to Count Hohenlohe ;
while Johann Andreas Bach (No. 48) was oboist at
Gotha, and afterwards organist at Ohrdruf.

We now come to the sons of Johann Sebastian. An
account of their services to art will be found in C. H.
Bitter's "Die Sohne Sebastian Bachs," published by
Breitkopf and Hartel, 1883. We must be here content
with a bare outline of their biographies.

Wilhelm Friedemann Bach (No. 49), born at Weimar,
was a pupil of his father and of Graun, concert-meister of
Merseburg. He went to the University of Leipsic, where
he distinguished himself in law and mathematics. In
1732 he became organist of St Sophia at Dresden, but

Sons of J. S. Bach

giving this up, he accompanied his father on his various
journeys. In 1747 he became music-director of a church
in Halle, and is sometimes called the "Halle Bach."
Quitting this post he lived without employment at various
places, and died at Berlin in 1784 in great poverty and
misery, having been given to drink.

Fdtis and Bitter say he was the greatest organist in
Germany after his father, and Forkel states that his
" clavier - playing was light, brilliant, and ^ „ „ ,
charming," and his "organ style was ele-
vated, solemn, and full of religious feeling."
He extemporised much but composed little, *

though some sonatas for clavecin, both solo and with
violin, some polonaises, organ-pieces, concertos, fugues,
symphonies and cantatas have come down to us.

Johann Christoph (No. 50) died in infancy.

Carl Philipp Emanuel (No. 51) the most celebrated
of Sebastian's sons is called the "Berlin Bach," having
lived in that city for twenty-nine years. He ™. „ ..
studied at St Thomas' School at Leipsic „ ,

under his father, and afterwards joined the
University of Leipsic as a student of law, but completed
this course of study at Frankfort on the Oder. In
1738 he entered the service of Frederick the Great
at Berlin as cembalist. In 1767 he went to Ham-
burg in succession to Teleman as director of music,
after having with great difficulty obtained leave from
the Court at Berlin to depart. Here he remained
till his death in 1788. He was a prolific composer
in all styles. A catalogue of his works is given
by F^tis, among the most important of which are
those for clavier, and his "Attempt to explain the

Bach

true art of Clavier-playing," the first treatise on the
subject if we except Couperin's "L'art de toucher le
clavecin." It describes the method of John Sebastian,
from which the present style of piano-playing is developed,
and the -rules for the execution of the "Manieren";
while in the second part, thorough bass and accompani-
ment of voices are treated of. He became the greatest
theorist of his time, and in his autobiography he
says, "In composition and clavier-playing I have never
had any teacher but my father." Hilgenfeldt remarks
that he was intended for a learned profession and only
studied music as an amateur j but Bitter shows that he
was an artist, and was brought up as a practical musician,
his scientific studies being secondary to music.

Emanuel occupies a very important position in the
history of music. His period was one of transition.
-, . Polyphony had reached its highest point.

, .^. . Oratorio had been developed to its greatest
position m , J J J 1 • 1 ■ u J

^ . J splendour, and organ and clavier-playmg had

, . reached their highest development on the

■^ old lines. His services to art were that he

opened new paths in clavier-music, which made possible the
creations of Haydn, Mozart and Beethoven. Bitter con-
siders him the father of that particular kind of form which
has been found suitable to the modern piano : viz. the
sonata form. His smaller sonata forms were based on
those of the preludes in the Wohltemperirte Clavier which
are in two sections, and this form was developed by
Haydn and his successors. The form is found in the six
sonatas of 1742, but it had been used by Krebs in his
" Preambles " two years earlier.

Johann Gottfried Bernhard Bach (No. 52) was given

J. Christian Bach

the post of organist at Miihlhausen in response to an
earnest letter from his father to the authorities. He,
however, shortly afterwards went to Jena to study law,
and died there in 1739 of a fever.

Leopold August (No. 53) died young.

Gottfried Heinrich Bach (No. 54) is only known as
having lived in Leipsic in the year 1754.

Christian Gottlich Bach (No. 55) lived only three years.

Ernst Andreas Bach (No. 56) died the year he was
born.

Johann Christoph Friedrich (No. 57), was called the
"Biickeburger Bach " from his holding a post as Chamber
musician to Count von Lippe at Btickeburg. He com-
posed oratorios, Passion music, and many other things.
He was remarkable for a deep insight into the essence
of harmony, and a very good style of clavier-playing,
which approached that of his brother Emanuel. He
is also mentioned as a man of amiable and upright
character.

Johann August Abraham Bach (No. 58) died young.

Johann Christian (No. 59), called the "Milanese" and
afterwards the " English " Bach, was born at Leipsic, and
at the age of fourteen (on the death oi ~,, „ ...
his father), he went to his brother Emanuel %. ,

at Berlin. When his education was com-
pleted he went to Milan, where he worked hard at
the composition of songs. His wealth of melody, and
the facility with which he produced it, led him to attach
himself to the Neapolitan school of composition, the
result being shown in a number of works which the
greatest singers of his day took as their favourite con-
cert songs. His clavier works were chiefly written for

B 17

Bach

amateur lady pupils, and it has been said that the great
increase of clavier dilettanti towards the end of the
eighteenth century is to be attributed directly to the
influence of Christian Bach.

He composed concertos, operas, oratorios, besides
every kind of clavier and other instrumental music in
the fashion of the day; "but," says Schubart, "in the
midst of his frivolity the gigantic spirit or his father
always shines." He was organist of Milan Cathedral,
and from there went to London, where he remained till
his death in 1782. Although he made a large income
from his pupils and compositions, he died deeply in
debt, and his widow (an Italian prima donna) received
a pension from the Queen.

The eight daughters of Sebastian showed none of the
musical talent of their brothers, and, with the exception
of three, they all died young. One of them married
Bach's pupil Altnikol, of whom we shall hear later. The
family gradually died out, and after the sons of Sebastian,
none showed exceptional musical ability.

The clan feeling was very strong. It was a family
custom to meet together at Erfurt, Eisenach or Arnstadt
_ .. once a year, and to spend a day in friendly

. intercourse. The day was begun with the

* singing of a chorale, after which jokes and

all manner of pleasant pastimes were indulged in.
One of their favourite pursuits on these occasions
was the singing of " quodlibets '' consisting of the
endeavour to make three or four popular or well-
known songs harmonise together, these extempore
efforts being intended more as a joke than as serious
music.

A Quodlibet

Hilgenfeldt quotes a quodlibet of the sixteenth century
of which we give a few bars :

The Lord's Prayer,

Saf.

Alto

Ten.

Bass

SE^3

izt:

Va • ter

The Creed.

Him - mel-reich.

Wii

Easter Song.

glau ben

aU'an ei - TTnen

Gstt.

it=ii

S^EE

?Z=ii

Je - sus Christus unser Hei

Baptism Song.

land.

Christ unser Herri 2uin Jor-dan kam.

The Ten Commandments,

ffi

H' w-d-*

-O—

Mensch willt du le - bea

se ■ lig - lich.

Chapter II

Bach's attitude towards art — His birth — Death of his father — Removal
to Ohrdruf— Performances in the Ohrdruf choir — Removal to LUne-
bm-g — His industry as a. boy — Expeditions to Hamburg and Celle
— ^Joins the Court Orchestra at Weimar — Is appointed organist at
Arnstadt — Troubles with the church authorities — Successfully com-
petes for a new post.

The life and character of John Sebastian Bach have a
pecuHar interest, not only for musicians and amateurs of
music, but for every one who can appreciate sterling
worth, combined with genius of the highest rank, and a
„ ,, modesty as great as it is rare. "Anyone,"

. , said Bach, "could do as much as I have

, - ' done if he worked as hard." And this
capacity for hard work is perhaps not the
least among the many remarkable characteristics of
the man. We find in him little of that desire for
applause, for recognition, which is usually one of the
strongest motives in an artist. He was content to labour
as few men have laboured, in a remote corner of Germany,
simply for art, and art alone. His greatest works never
saw the light of publication during his life-time: he
seemed to compose just because he obeyed the inward
spirit of genius which drove him onward, and though his
chamber works became fairly well known, his larger com-
positions were rarely performed outside the church or
place for which they were composed. " The sole object

....^

Ti)c JIuusc at Eircnacli in wbich ]. S. .Cach was born

Boyhood Promise

of all music," said he, " should be the glory of God and
pleasant recreation," and the "glory of God" was the
mainspring of every action of his simple and pious life.
! He was born on or about March 31st, 1685 ^ at
Eisenach in Thuringia, under the shadow of the famous
Wartburg. A house still standing in the Frauenplan is
pointed out by tradition as his birthplace, and contains
a tablet to that effect. He was the youngest son ot
John Ambrosius Bach, at that time Court and Town
musician of Eisenach, a place which had a good reputation
for its music.

The lofty artistic and moral standard which permeated
the whole of the numerous members of the Bach family
seems to have culminated in the subject of this sketch.
We have seen that for many generations they had been
musicians, and had held the chief posts as organists and
town musicians throughout Thuringia ; and John Sebastian
naturally had no other thought than to follow the family
profession. Of the first few years of his life little is known.
It is probable that he learned the violin from his father.

In January 1695, when he was not yet ten years old,
his father died, and his eldest brother Johann Christoph,
who was organist of St Michael's Church at r t

Ohrdruf and had married, now undertook to nhrd f
provide for him and educate him. Johann ■'

Christoph, who had been a pupil of Pachelbel for three
years, taught his younger brother the harpsichord.
Sebastian soon mastered all the studies and pieces he
was given to learn, and began to aspire to higher things.
His brother had made a MS. collection of composi-
tions by Froberger, Fischer, Kerl, Buxtehude, Pachelbel,
» See Spitta, " Life of Bach," vol i. p. 181, note.

Bach

Bruhns, Bohm, and others, and this book was eagerly
yearned for by Sebastian, The MS. was kept in a book-
case, shut in with a wire lattice-work, and his brother for
some unknown reason denied him the use of it. Such
was his zeal, however, that he managed to abstract it
through the lattice-work, night after night, for six months,
until he had copied the whole of it by moonlight ! His
pleasure in it was of short duration, for when he began to
practise the music his brother discovered the copy, and
was hard-hearted enough to confiscate it. No reason is
assigned for his having done so, and Sebastian did not
recover it imtil his brother's death in 172 1.

At Ohrdruf he joined the Lyceum,^ where he laid the
foundation of his general education, in Latin, Greek (from
the New Testament), theology, rhetoric and arithmetic.
He also took part in the chorus, whose duties were to
perform in church on Sundays and festivals, as well as to
sing motets at weddings and funerals, and at certain times
to sing in the streets.^ He became one of the principal
singers, and had a fixed salary.

When he was fifteen he was obliged to leave his
brother's house, and he now determined to make his
„, own way independently of assistance from

, . ^ others. Recommended by Herda, the cantor

is own ^j. ^^ Lyceum, he went to the school of
the convent of St Michael at Liineburg,
accompanied by his friend Georg Erdmann, about Easter

* The Lyceum is now the Burgerschule. It is shown in the photo-
graph on the left hand side.

" The custom of singing in the streets is still kept up. The writer
heard one Sunday morning this year at Ohrdruf, excellent singing by
the choir-boys, in four parts, two treble and two alto.

St Michael's Church. Ohrdruf
with the Lyceum, now the Burgerschule

Earnest Student

1700, and both were admitted to the choir as discantists
with a salary. Bach's voice soon broke, but he remained
three years at LUneburg as accompanist at rehearsals,
besides playing the violin when required and taking
part in the band that played through the streets at
the New Year. His salary was probably twelve thalers
a year, besides free board and lodging, and a share
in the profits of the processional performances in the
streets.

Liineburg, like Eisenach, seems to have cultivated
music with considerable energy. Besides the choir of
which Bach became a member, there was a similar one
belonging to the school of St John, and the rivalry
which naturally arose led to collisions, which were put an
end to by certain streets being allotted to each choir for
its performances.

Bach, being now above want, devoted the whole ef his
available time to self-improvement, in spite of the great
demands made on him by his duties. He found in the
library of the convent compositions by all the best com-
posers up to that period — Hammerschmidt, Scheldt,
Able, Briegel, Schiitz, Rosenmiiller, Michael, Schop, Jeep,
Krieger, Selle, Criiger, and his own relatives Heinrich and
John Christoph Bach. To these compositions we know
that he devoted unremitting study, and at the same time
worked with enormous industry day and night to improve
his technique on keyboard instruments.

The organist of St John's Church was Bohm, a native
of Thuringia, and a man of considerable genius. He
had studied in Hamburg, and his compositions show the
influence of Sweelinck and of Reinken the organist of St
Catherine's Church. The distinguishing characteristics of

Bach

his school were " technical neatness, pleasing ingenuity,
and a taste for subtle effects of tone."^

Bach was now learning all he could from Bohm, but in
order to further advance himself he made several expeditions
to Hamburg on foot, a distance of some 2 5 English miles.

Of one of these expeditions the following story is
told. Bach, on his return journey, sat down outside an
inn halfway between the two cities with not sufficient
money in his pocket to avail himself of the excellent
dinner that was being prepared, the odours of which
reached him from the kitchen, when a window was
suddenly opened and two herrings' heads were thrown
out. The herring in those days, as now, was one of the
favourite articles of food in Germany, and the boy at
once picked up the two heads. Inside each he found a
Danish ducat. Who his benefactor was never became
known to him ; and the money not only paid for a
dinner, but another journey to Hamburg as well.

From Reinken he obtained models for his early com-
positions of which Spitta mentions three as showing
Reinken's influence; organ arrangements of the two
chorales "Es ist gewisslich an der Zeit,"^ "An Wasser-
flussen Babylon " ; ^ and a toccata in G.

But Bach was not satisfied to study only the works of
his own countrymen. About forty-five English miles to the
south of Liineburg is Celle, where the ducal court main-
tained a band which played French dance music, and
where also French harpsichord music was held in con-
siderable estimation. He took frequent opportunities of

• Spitta, vol. i. p. 195.

^ In a MS. collection in possession of F. A. Roitzsch oi Leipsic.
' MS. in Lib. of R. Inst, for church music, Berlin
24

First Post

hearing this band, and so became familiar with the French
style of music, which he admired, and much of which
he copied.

Spitta considers that the chorale partitas " Christ, der
du bist der helle Tag," and " O Gott, du frommer Gott,"^
were composed at Liineburg, since they were certainly
early works, and show the influence of Bohm, in the
elaboration of the motives and the use of basso ostinato,
&c. It would seem that there was no good organ at
Liineburg, for his compositions of this period are either
for harpsichord or, if for organ, show that he was not yet
experienced in writing for the latter instrument.

In 1703 Bach was invited by Johann Ernst, younger
brother of Duke Wilhelm Ernst, to join his orchestra
at Weimar as a violinist with the title of " Hof-musikus,"
or Court musician. This brought him into contact with
a great deal of instrumental music, especially Italian
works, and among musicians he there met Westhoff, the
Duke's private secretary, a good violinist, and Johann
Effler an organist.

From Weimar he paid a visit to Arnstadt, only a few
miles off, the former meeting-place of his family. Here
he had an opportunity of trying the organ lately erected
in the " New Church," the organist of which was Borner,
a man of no great attainments. The Consistory heard
him, and, at once dismissing Borner, offered p.

Bach the post : a high-handed proceeding, . .

which they softened by making Borner "

" organist at Matins " and deputy to the
Franciscan Church, on his full salary. Bach's salary
was raised by outside contributions, and the youth of
' Peters, vol. 244.

Bach

eighteen found himself more highly paid than any of his
fellow officials.

On August 14th, 1703, he was solemnly installed, and
exhorted to industry and fidelity in his calling, and to act
as an honourable servant and organist before God, the
authorities, and his superiors. His official duties were to
play on Sunday and Thursday mornings, and at one ser-
vice on Mondays ; so that he had ample leisure for study.

The organ, which was a very fine one of two manuals,
had the following stops :

Oberwerk (Great).

1. Principal (open diapason), 8 ft.

2. Viola da gamba, 8.

3. Quintaton, 8.

4. Gedackt, 8.

5. Quint, 6.

6. Octava (principal), 4.

7. Mixture, 4 ranks.

8. Gemshorn, 8 ft.

9. Cymbal, 3.

10. Trumpet, 8.

11. Tremulant.

12. Glockenaccord.

Brust-positiv (Choir).

1. Principal (open diapason), 4 ft.i

2. Still gedact, 8.

3. Spitzflote, 4.

4. Quint, 3.

5. Sesquialtera.

' See Glossary, Positiv,
26

-"•■■'-■:'^~^^^^t.:\

The l\c\'lio.ira> ul Bath's Arnbtadt Organ
now in tlie Raihhaus

First Cantata

6. Nacht-horn, 4 ft.

7. Mixture, 4 ranks.

8. Octava, 2 ft.

9. Glockenaccord.

Pedal.

1. Principal, 8 ft.

2. Sub-bass, i6.

3. Posaune, 16.

4. Violon bass, 16,

5. Octava, 2.

Couplers for manuals and pedals.*

The keyboards, of which we give a photograph, are
preserved in the Rathhaus. The instrument was built
by Wender of Miihlhausen in 1703.

Bach had also the direction of a small school choir,
which was augmented by " adjuvanten " or amateur singers,
and he had to accompany and attend the rehearsals of
the church choir, besides which he probably played the
violin in the Count's band. There was also a theatre
belonging to the Count, in which " Singspielen " or
operettas were occasionally performed.

The cantata for the first day of Easter, " Denn du wirst
meine Seele nicht in der Holle lassen," which was after-
wards remodelled for use at Leipsic, was com- „.
posed at Arnstadt, probably for Easter 1704.* r t i
It was his first cantata, and is in character
similar to those in vogue in Northern Germany.

It consists of a short introductory sonata, for three

' The above list, which slightly differs from that of Spitta, was
taken from the existing stop handles.
* Spitta, vol. i. p. 231.

Bach

trumpets, drums, strings and organ, then a bass solo,
"For thou shalt not leave my soul in hell," in which
are important ritornels. This is followed by a recita-
tive, a duet for soprano and alto in Italian aria form,^
a tenor solo, " Be not dismayed," after which the cantata
closes with a soprano aria, " Up soul, and be joyful."

During his stay at Arnstadt he chiefly cultivated
instrumental music and composition, and, according to
Mizler, began to show his eminence in organ-playing.

In 1704, Johann Jacob, Sebastian's elder brother, who
had entered the Swedish Guard as an oboe-player, came
to bid farewell to his family and friends. For him Bach
wrote the early "capriccio on the departure of his beloved
brother." This was modelled on Johann Kuhnau's "Bible
Sonatas." 2

A chorale arrangement for two manuals and pedals
" Wie schon leuchtet uns der Morgenstern " of this period
exists in MS. in the R. Library at Berlin, and seventeen
variations on " AUein Gott in der Hoh sei Ehr " were in
the possession of the late Dr Rust of Leipsic.

Towards the end of 1705 Bach determined to go to
Liibeck to hear and study the style of Buxtehude, one
„. . of the greatest organists then living. He

Jf^ f found a deputy, and having obtained one

month's leave of absence, started on foot,
on the journey of over 200 miles, with the object of
arriving in time to hear the "evening performances"
at the Marienkirche, which took place in November and

* i.e. like many of Handel's songs, which have a da capo after the
change of ke)'.

" For an account of these see J. G. Shedlock, " The Pianoiorte
Sonata," London, 1895.

Cited to Appear

December, which were peculiar to Liibeck, and which
Buxtehude had worked up to a high pitch of excellence.
They consisted of sacred music both vocal aijd instru-
mental, with organ solos.^

Bach outstaid his leave of absence by some three
months, and on his return to Arnstadt in February 1706
received a " citation " to appear before the Consistory
to explain his conduct. The Consistory at the same
time brought a charge against him of neglecting the
training of the choir, and of introducing unseemly
variations on the organ during the singing of the chorale,
whereby the congregation were thrown into confusion ;
and they complained of the great length and unseemly
figuration of his preludes to the chorales.

Bitter gives the whole of the report of this " citation,"
in which the several charges are put to Bach and
answered by him.

"The organist of the New Church, Bach, is required
to say where he has been for so long of late, and from
whom he received leave of absence ? "

Ille.

"He has been to Liibeck in order to learn things
connected with his art, but that he had previously asked
permission from the Herr Superintendent."

1 The organ had fifty-four stops, three manuals, and pedal ; and
the post of organist at this church was one of the best in Germany.
It had one drawback, however ; on the resignation or death of an
organist, the person appointed to succeed him was obliged to marry
his daughter. Mattheson and Handel in 1704 and Bach in 1706
had thought of applying for the post, but were all frightened away by
this condition, Buxtehude's successor was Johann Christian Schiefer-
decker, who had been harpsichord player in the opera at Hamburg.

Bach

Der Superintend.

"He had only asked permission for four weeks, but
had remained away four times as long as that."

Ille.

" Hopes that the organ would have been played by
him whom he had put in, in such a manner that no
complaint can be made on that point."

Nos.

"Charge him with having made extraordinary varia-
tions in the chorales, and with intermixing many
strange sounds, so that thereby the congregation were
confounded. He must in the future, when he wishes to
introduce some tonus peregrinus, continue in it, and not
go off too quickly to something else, or, as he had
hitherto been in the habit of doing, play a tonum con-
trarium. And then it is very strange that up to this
time he has had no rehearsals, because he will not agree
with the scholars. Therefore he is to declare whether he
will play both figural and choral music with the scholars,
since a capellmeister cannot be kept. If he will not do
this, let him say so categorically of his own accord, that
a change may be made, and some one who will under-
take it can be appointed to the post."

Ille.

"If an honest Director be appointed, he will play
again."

Explanations Needed

Resolvitur.

" He must explain his conduct within eight days.
That scholar Rambach (the choir prefect) now appear,
and be reproved for the disorders which up to this time
have taken place between the scholars and the organist
of the New Church."

Ille.

"The organist, Bach, played for too long a time,
but after this was notified to him, by the Herr Super-
intendent, he at once went quite to the opposite extreme
and has made it too short."

The Consistory.

"Accuse him (Rambach) of having gone to a wine-
cellar last Sunday during the sermon."

Ille.

"Was very sorry, and it should never happen again,
and the clergy have already spoken to him very severely
about it. The organist need not complain of him about
the conducting, because it was undertaken not by him,
but by the youth Schmidt."

Nos.

" He must for the future behave quite differently and
better, otherwise the gift which was intended for him
would be withheld. If he has anything to remember
against the organist, he must bring it forward at the
proper place, and not take the law into his own hands.

Bach

but behave in such a way as to give satisfaction, as
he had promised. The servant of the Court is now
ordered to tell the Rector to have Rambach imprisoned
on four successive days for two hours each day."'

Bach was always irritable and obstinate, and had
completely alienated his choir. He was too much
engaged in composition to take any interest in training
it, and it was in any case not good enough for him.
The Consistory allowed that there were faults on both
sides, and hoped that by giving him more time than the
eight days he would come to some agreement with the
choir : but in vain. For Bach having come fresh from
the artistic Ufe of Liibeck found the drudgery of training
the rough scholars unbearable. The answer that he was
required to give in eight days completely left his mind,
and after more than eight months the Consistory again
" represented to the organist Bach that he should declare
whether, as he has been ordered to do, he will rehearse
with the scholars or not; as, if he feels no shame in
remaining in the Church and receiving the salary, he
must also not be ashamed to ' make music ' {i.e. rehearse)
with the scholars : for it is intended that these should
exercise themselves, so that for the future they may have
more skill in music."

Ille.

" Will make the declaration on this subject in writing."

The Consistory.
" Furthermore ask him by what power he has latterly
allowed the strange maiden to appear, and to make music
in the choir."

Second Post

Ille.

"Has already spoken about it to Master Uthe."^

The " strange maiden " who made music with Bach in
private in the church seems to have been his cousin,
Maria Barbara, youngest daughter of Michael Bach of
Gehren,^ whom he married in the following year. It is
not known how the matter ended, but Bach, from this
time, began to endeavour to find another post.

An important post at St Blasius, Miihlhausen, some
20 miles north of Gotha, fell vacant through the death
of Johann Georg Ahle on December 2nd, 1706, and
there were many candidates. It seems, from „ ,

Gerber's account (vol. ii. p. 764), to have .

been at first offered to Johann Gottfried ^"

Walther of Erfurt, but to have been declined
by him ; ^ and when Bach, whose friction with the Con-
sistory made him anxious to leave Arnstadt, offered
himself as a candidate, the Council, after hearing him play,
were unanimous in his favour.

The church of St Blasius is a fine Gothic building, in
strong contrast to the homely, towerless New Church at
Arnstadt; and the office of organist is proportionately
more important. Its present holder is Herr Musik-
director Moller.

' A preacher in the New Church.
' No. 14 in the Genealogical Table.

' This Walther was the author of the " Musikalisches Lexicon,"
Leipsic, 1732.

Chapter III

Bach's salary — He borrows a cart from the Consistory for his furniture —
The agreement is made verbally — Bach's first marriage — His duties
at St Blasius — The festival compositions — Repairs to the organ —
Difficulties with the Pietists — He resigns his post — Is appointed
chamber-musician at Weimar — His duties there -His relations with
Walther — Studies instrumental music — His journeys — His competi-
tion with Marchand.

The competition took place at Easter 1707, and terms
were arranged a month later. An organist is rarely a
highly paid individual : but modern organists may well be
astonished at the meagreness of the salary for which the
greatest of their predecessors was content to work. The
request for the loan of a cart to bring his modest furniture
from Arnstadt brings the matter very plainly before us.
One sees in Thuringia, even at the present day, the
clumsy four-wheel carts which have not varied in shape
for centuries, drawn by a cow and a pony, rarely by two
horses ; and one can easily imagine such a cart conveying
the household goods of the young musician across the
plain from Arnstadt to Gotha, and from Gotha to Miihl-
hausen.

The terms were eighty-five giilden (about j£8, i os.) ;
three maker (twelve bushels) of corn, two cords of wood,
six trusses of brushwood ; the last in place of some arable

At Muhlhausen

land formerly held by the organist. The cost of convey-
ance to his door was to be borne by the Council. In
addition, he was to receive annually three pounds of
fish, and he asked that a cart might be lent him for
transporting his furniture from Arnstadt, to which request
the Council agreed.

A fire had, a fortnight before, destroyed a large portion
of the parish of St Blasius, and when the clerk brought
the agreement to the Council to sign, pens and ink were
not forthcoming, so that a verbal agreement was made to
all the terms.

The actual appointment took place on June isth; and
a fortnight later he was again in Arnstadt, where he
thanked the Council for past favours, announced his
resignation, and gave up the key of the organ. A sum
of five giilden was due to him as salary, but he requested
the Consistory to pay this to his cousin Ernst,^ who had
formerly assisted him, but who was now ill and poor.

His duties at St Blasius were to play the organ on
Sundays, saints' days and festivals. He was anxious to
raise the whole of the church music to a higher level, and
mentioned this wish to the Council in an w' h f
address. His predecessor Able had left a M"hl

number of compositions which were frequently ,

performed, but Bach, not being satisfied
with them, as quickly as possible made a good collection
of music and had it performed, paying for it out of his
own pocket. He also made eiforts to improve the choir
and orchestra;

He received considerable assistance in these endeavours
from his pupil Johann Martin Schubart (who afterwards
' No. 27 in the Genealogical List.

Bach

succeeded him in his post at Weimar), and from his choir
leader, Johann Sebastian Koch, afterwards Capellmeister
to Count Reuss, and a Bachelor of Theology at Jena
University.

In October 1707, Bach returned to Arnstadt for his
wedding, which took place on the 17th of that month,
and it is evident that he had parted on good terms with the
Consistory, for the prescribed fees were remitted. In
September of the same year Tobias Lammerhirt, of Erfurt,
a maternal uncle of Sebastian, had died, and left 50
gulden (about ;^5) to each of his sister's children, and
this legacy must have been welcome to Sebastian at the
time of his wedding.

Among the duties expected of the organist of St Blasius,
was the composition of a cantata for the yearly change of
Town Council (Rathswahl) ; and it was customary to
have the music printed after the performance, at Miihl-
hausen.

The first of the cantatas thus composed by Bach is
preserved ; it was for the festival of 1 708, and was per-
formed in the Church of the Holy Virgin on February 4
of that year. The text is taken from the Old Testament^
together with part of a hymn or a chorale, and Bach
called it a motet. It was accompanied by three trumpets,
drums, two flutes, two oboes, a bassoon and strings, the
band being divided into four groups of brass, wood-wind
(with cello), reed, and strings. The form is in imitation
of some of Buxtehude's church cantatas.^

Bach found the organ of St Blasius in very bad con-

' This is, according to the Bachgesellschaft, the only cantata
published in Bach's life-time. Its title is "Gott ist mein Konig,"
No. 71 of the Bachgesellschaft edition,

St Blasius Organ

dition. It had not sufficient bellows, and there was in-
sufficient pressure on the bass pipes, owing to there being
too small a wind passage. There was no 3 2 feet stop and
the trombone was too weak. Moreover the choir-organ
had become useless, as had also several stops in the great.

He drew up a list of deficiencies which he presented
to the Council, and asked for the addition of a " Glocken-
spiel" or peal of bells, to be acted on by pedals, an
invention of his own. The latter addition was at once
subscribed for by the parishioners. There n . • ^^
was a smaller organ in the church, which ^
he proposed to sell and apply the proceeds *

to repairing the principal organ. The Council placed
the entire management of the matter in his hands, and
he obtained an estimate from Wender the organ-builder
who agreed to do the work for 230 thalers,^ and to allow
40 thalers for the small organ.

The requirements were : —

Three new bellows ; stronger wind to the four old ones,^
a new 32 feet stop with a separate wind chest for it ;
renewal of the old bass wind chests ; new and larger
pipes, with differently arranged mouthpieces for the bass
trombone ; the addition of the new glockenspiel of twenty-
four bells ; the trumpet on the great to be removed and
a 1 6 feet bassoon to take its place ; the gemshorn to be
changed for a viol da gamba of 8 feet ; a 3 feet nassat to
be put in instead of the quint ; revoicing of all the rest
of the pipes ; sundry alterations in the choir-organ ; and

• The thaler =3 shillings. Bitter says 200 thalers was offered for
the work and 50 thalers to be allowed for the small organ.

* The organ in the Nicolai Church at Leipsic had in 1885 ten
bellows, requiring four men to manipulate them.

Bach

a coupler to connect it with the third manual ; the tremu-
lant to be put in working order.

Unfortunately, however, difficulties soon began to arise.
He was looked upon as an outsider, for the post had
previously always been held by a native ; and obstacles
which appeared insurmountable soon began to beset
him. Religious differences arose between the " Pietists "
and the " Old Lutherans," the former being led by J. A,
Frohne, dean of Miihlhausen, and the latter by G. C.
Eilmar, archdeacon of the Church of the Blessed Virgin.

Bach sided with the orthodox Lutherans, and Eilmar

was godfather to his first child. The Pietists conceived

of art as part of "the world," and therefore absolutely

hostile to a Christian life : it could only be rightly used

„. .. . in religion, and then only in the narrowest

, . possible of " spiritual songs " from which all

of music ^ . r. , 1 5 J TT

•' expression must be excluded. Hence any

attempt to introduce higher forms or new ideas must

be sinful. It is easily seen, therefore, that Frohne would

naturally place what obstacles he could in the way of

Bach's endeavours to raise church music to the highest

possible artistic standard. Moreover, the Pietists were

opposed to the doctrine of regeneration by baptism, and

to the whole of the simple but truly religious views which

Bach had inherited from generations of his family,

dedicated to the work of the church as organists and

cantors. He was no theologian, and was perfectly content

with the faith of his fathers.

The most beautiful and deeply religious of his church

cantatas were a sinful abomination in the eyes of the

Pietists. What wonder then that he should have found

difficulties and obstacles and want of appreciation in

Weimar Appointment

carrying out his aims. Even while he was in the midst
of the interesting work of repairing his organ, the situa-
tion began to become intolerable, and a post at Weimar
falling vacant, he took steps to obtain it.

On June 5 he went to Arnstadt for the second
wedding of his friend Pastor Stauber, who had performed
the service a year before at Bach's own wedding, and on
June 25th 1708 he sent in his resignation to the Council
at Miihlhausen, a year after he had received „ •

the appointment. He had alw^ays been on *• ^ /

the best of terms with them, and it is evident, ^

from the tone of his letter of resignation, that he was
sorry to leave them. The Council on their side also
regretted the step, but granted his dismissal, only requir-
ing that he should supervise the repairs to the organ,
which were not completed till 1709.

The post at Weimar, which he now obtained, was that
of Court-organist and chamber-musician to Duke Wilhelm
Ernst of Saxe-Weimar. Forkel says that he made a
journey to Weimar, and so pleased the Duke ™, . ,

with his organ-playing, that the post was at ^* ■ t

once offered to, and accepted by him. ^^

"Here," says Hilgenfeldt, "he devoted him-
self to acquiring that overwhelming mastery of the
organ for which his fame is assured for all time : and he
also laid the foundation for his future greatness as a
composer."

His circumstances were now very favourable. His
employer was a man of wide culture and refinement,
deeply interested in music and other branches of art, but
more particularly in church music. He was religious,
and took much interest in religious matters ; and in all

Bach

things he and Bach were in the closest sympathy. Bach's
position at Weimar was much the same as that of Franz
Liszt at the same Court in the nineteenth century.^
It is interesting to observe how this small and poor
Court for such a long period was famous for its encourage-
ment of art and literature. Bach in the first decades of
the eighteenth century, Goethe and Schiller in the last
quarter of the eighteenth and first part of the nineteenth,
Liszt and Wagner later on, besides many lesser men,
received help and encouragement at this remarkable
Thuringian " Residenz."

Bach, as we have seen, was appointed organist and
" Kammermusikus " (chamber-musician) — his salary for
the first three years being 156 gulden, 15 groschen
{£'^5j 13s- 3d.), which was always punctually paid,
but in 1711, 171 3, and 17 14 it was considerably in-
creased.

The organ of the castle was small, but had a good
pedal. There were 9 stops on the Great, 8 on the
Choir, and 7 on the Pedal. The pitch was a minor third
below the kammerton or ordinary pitch.

As Kammermusikus Bach played the harpsichord and
violin, and afterwards became " Concertmeister " or
leader. The number of musicians was about twenty-two,
including singers, but the latter could also play some
instruments, and many members of the band performed
on several. The orchestra would also be occasionally
strengthened by the addition of the town musicians.
Johann G. Walther was organist of the town church, and
a great friendship sprang up between the two men. He

' This is pointed out by G. H. Lewes in his " Life of Goethe,"
vol. i. p. 314.

Sight-Reading Poser

was connected with Bach by marriage, his mother being
a Lammerhirt. One of his chorales has been erroneously
ascribed to Bach. It is Peters, vol. 245, Book vi., No.
24 — "Gott der Vater wohn' uns bei."

Bach stood godfather to Walther's eldest son, and a
friendly rivalry in composition arose between them. Later
on, however, some unfortunate disagreement seems to
have arisen between the friends, for Walther, in his
Lexicon, omits the mention of events and compositions
during the nine years' period at Weimar, which must
have been well known to him.

Forkel tells the following anecdote : — Bach, while still
at Weimar, had advanced so far in clavier playing that he
said to a friend that he believed he could play anything at
first sight. His friend invited him to breakfast in a week's
time, and for a joke placed on the harpsichord a newly
composed piece which looked simple enough. While
the friend was preparing breakfast in the next room.
Bach instinctively began playing what he saw on the
harpsichord, but was not able to advance very far. He
tried several times, but always with the same result. On
joining his friend, he laughingly acknowledged that no
one could play everything at first sight, it was not
possible.

Amongst other things Bach began to study Italian
instrumental music at Weimar, especially with regard to
the forms then in use, the concerto, the suite and the
sonata. To this period may therefore perhaps be assigned
some of the concertos for clavecin and other instruments,
the suites for violin, etc., and the sonatas for harpsichord
and violin.

The sonata of this date was usually performed by two

Bach

violins and a violoncello, with a figured bass part for a
harpsichord or organ {e.g. the twelve sonatas of Purcell in
Italian style, and the four sets of twelve sonatas each by
Corelli op. i, 2, 3, 4). These sonatas had nothing in
common with the modern sonata as begun by Emanuel
Bach and perfected by Haydn, Mozart, and Beethoven.

Bach has left some examples in the sonatas for two
violins and clavier (Peters, 237); for flute, violin, and
clavier (Peters, 237) : by clavier must be understood here
a part for figured bass, which would be played by violon-
cello or double bass and harpsichord. Besides this, he
adopted the form for other combinations, such as violin
and figured bass, flute and figured bass (Peters, 232 to
23s) viola da gamba and figured bass, etc. (Peters, 239).

Bach and Walther had plenty of encouragement in this
kind of music, since the Duke's nephew Joh. Ernst (who
unfortunately died young) had considerable skill on the
violin, and also was a fair composer. They vied with
one another in arranging Italian concertos for the harpsi-
chord and organ. Sixteen of Vivaldi's violin concertos
were arranged by Bach for the harpsichord (Peters, 217)
and three for the organ (Peters, 247).^ Walther arranged
thirteen for organ from the works of Torelli, Taglietti,
Albinoni, etc., and they are preserved in MS. in the
Royal Library at Berlin. The arranging of these con-
certos led Bach to the use of the new form for clavier
compositions, of which the well-known Italian concerto is

' Vivaldi takes an important place as one of those who studied
and brought forward form. He wrote concertos for one, two, three
and four solo violins, improved the orchestra, and invented new
means of expression. He died in 1743 at Venice. See Spitta, vol. i.
p. 411.

Halle Incident

an example. Is it possible that the friendly rivalry was
the commencement of the estrangement with Walther ?

Bach was in the habit of making expeditions to try
different organs, or for other musical purposes, and his
reputation began to spread through North and /iff

Central Germany. He invented a peculiar
form of fingering for keyboard instruments ^

in order to increase his facility, and his use of the
pedal rose to unheard-of heights. He also became an
expert in questions of organ construction, and was often
called upon to give his opinion in this respect. He
was very ingenious in his use of the stops and of artistic
combinations, but, unfortunately, with one small excep-
tion, none of his registering has come down to us.
He was never in command of a really fine instrument,
and the above exception, which consists of the chorale
"Ein feste Burg," Peters, vol. vi.. No. 22, seems to
have been written for the newly arranged organ at Miihl-
hausen. It is for three manuals — the left hand has to play
on a " fagott," and over the right hand is written " sesqui-
altera." These directions are omitted in Peters' edition,
but are given in Walther's collection at Konigsberg.

In 1 713 he went to Halle, where a large organ of
sixty-three stops had recently been placed in the Lieb-
frauenkirche. Here he won laurels by his magnificent
playing, and, since the post was vacant through the
death of F. W. Zachau, he offered his services to the
Council as organist. He remained long enough to go
through the prescribed test of composing and conducting
a cantata, after which he returned to Weimar in haste
to fulfil his engagements. The authorities of the church
wrote to him stating the salary and conditions, but Bach,

Bach

considering that the payment was inadequate to the
amount of work, returned the agreement they had sent
him to sign. The Halle authorities then said that Bach
had only opened the negotiations in order to obtain an
increase of salary at Weimar. This naturally annoyed
him, and drew from him a firm and dignified answer to
the affront.

In 1 7 14 Bach went to Cassel to try an organ, which
had been recently renovated. His extraordinary execu-
tion, especially on the pedals, so astonished the Crown
Prince Friedrich (afterwards King of Sweden) that he
drew a valuable ring from his finger and presented it to
him.

On the first Sunday in Advent 1714 he paid his first
visit to Leipsic, where he conducted his cantata, " Nun
Komm, der Heiden Heiland," and made the acquaint-
ance of Kuhnau, Cantor of the Thomas Church, whose
works he much admired.

The autograph score of this cantata is still in existence,
and on it is noted, in Bach's own hand, the order of the
service in just the same way as any modern organist, who
was taking a service in a strange church, would note it.
„ , , The order on this occasion was a prelude
T 1 on the organ, then a motet, then the kyrie,

which was preceded by a prelude on the

S€WtC€ •

organ. Then came the epistle, the litany
(which was sung), and the prelude to the chorale. Then
the gospel, and after this the cantata, which was also pre-
ceded by a prelude. To this followed the sermon, then
the Communion, during which he had to extemporise
another prelude to a chorale, and the service concluded
with a voluntary on the organ.

Examining an Organ

The organ solo portions of the service were all called
" Preludes " ; and it does not seem that a concluding
"voluntary" was usual. The prelude was played at
the beginning of the service, and before the chorales.
With us it is customary to simply play through the tune
of a hymn or chant, in order to let the congregation know
what they are to sing, and to give them time to find their
places in the books. In Germany an artistic and some-
what elaborate prelude, in which the organist is expected to
show his skill, precedes each chorale.

A hymn was sung between the epistle and gospel, in
the place of the " Gradual " of the Roman service, and
here the most elaborate prelude was introduced, based on
the melody of the hymn.

Before the " church music," which takes the place of
our anthem, an extempore prelude was played in order to
allow the instruments to be tuned. This was in the form
of a fantasia, in which the performer had to remain longest
in the key which most coincided with the strings to be
tuned. The prelude had to stop on a sign from the
conductor that the instrumentalists were ready. It was
supposed to have some connection with the piece that
was to follow, but the unhappy effusions of incompetent
organists led to occasional remonstrance from the
Council.

In 1 716 the Council of the Liebfrauenkirche at Halle
invited him to examine their organ, which was _
now completed. He answered their invitation . ,

very politely, and with Kuhnau of Leipsic and ■'

Ch. F. Rolle of Quedlinburg began the ex- ^^^ organ
amination in the second week after Easter. The organ
was built by Cuncius of Halberstadt, and the three ex-

Bach

aminers reported that he had carried out the work (which
had occupied three years) in the most satisfactory way
possible, the only part requiring alteration being the
bellows. After many difficulties, owing to the smallness
of the salary, the authorities eventually found an efficient
organist in G. Kirchoff, a pupil of Zachau and a man or
the same age as Bach.

About 1 716 the friend of Bach's youth, G. Erdmann,
visited him. He had held a legal post under the Russian
government since 17 13.

In the autumn of 171 7 Bach made a journey to
Dresden to hear the performances at the theatre, which
was supported by Friedrich August I. There happened
to be visiting Dresden a famous French organist and
(^ f f harpsichord player Jean Louis Marchand,

.,, organist at Versailles, and of several churches

,, , , at Paris. He enjoyed an immense reputa-
Marchand ^. , ' i ^i , , ■

tion as player and composer, though his

compositions have not borne the test of time, and are
now entirely forgotten. Vain, arrogant, and conceited,
the spoilt idol of French society, he came to Dresden,
where his playing became much in favour at the Court
and he was given two medals. Soon after Bach's
arrival there arose a discussion among the artists as to
which was the greater performer. The Court musicians
took the part of Marchand, while the members of the
orchestra, who were mostly Germans, preferred Bach.
The matter ended in Bach's being persuaded by his
friends to write to Marchand, offering to go through
any musical test that Marchand might suggest, on con-
dition that he would undergo the same test.

The challenge was accepted; a date was fixed for a

A Victory

meeting at the house of Field Marshal von Flemming,^
a jury of musicians was chosen, and a brilliant company
assembled. Bach and the jury arrived punctually, but
Marchand did not appear. After a time he was sent
for, when it was found that he had departed by express
coach that morning from Dresden, certain, no doubt,
of being defeated. Marchand seems to have heard
Bach privately beforehand ; while Bach was already
familiar with Marchand's works, and admired them
much. Spitta ^ considers that they are not inferior to
those of Couperin in variety and grace, but are rather
thin for the more solid German taste. The news of
Bach's victory soon spread far and wide, and did much
to enhance his already great reputation. He, however,
never seems to have obtained any recognition from the
Court at Dresden.

' According to Bitter. - Vol. i. p. 585.

Chapter IV

Bach becomes capellmeister to the Duke of Cbthen — His Weimar pupils
— His new duties — Death of his wife — Journey to Hamburg— He
competes for an organistship there — The post is sold — Disgust of
Mattheson at the transaction— Bach endeavours to meet Handel —
His second marriage — Is obliged to leave Cothen.

Bach returned from Dresden to prepare for a jubilee at
Weimar, in commemoration of the two hundredth anni-
versary of the Reformation. The festival took place from
October 31st to November 2nd, and for it Bach com-
posed at least one cantata and perhaps two. On this
occasion the Duke established a fund, of which the
interest was to be distributed yearly, the Court organist
to receive 3 gulden from it.

The old capellmeister, Samuel Drese, had for twenty
years been too much out of health to fulfil his duties.
The duke, however, would not dismiss him, but gave
him a deputy, G. C. Strattner, at a salary of 200
gulden. Drese died on December i, 17 16, and it
would seem natural that Bach should be appointed in

„ ., his place. For some reason, however, he

was passed over, and Dres'e's son (who had

^^ ' succeeded Strattner as deputy capellmeister)

was installed. Bach, therefore, accepted an

offer made by Prince Leopold of Anhalt-Cothen of a

capellmeister-ship, and in November 171 7 moved to

Organ Pupils

Cothen. His post at the Weimar Castle organ was
filled by his' pupil Schubart.

Amongst Bach's duties at Weimar was that of compos-
ing and conducting a certain number of sacred pieces
every year, to texts by Franck, the secretary to the
Superior Consistory of the Principality of Weimar, and
librarian to the duke. Franck was a good poet, and
had written excellent masques, besides occasional pieces
for weddings, etc.

Bach's fine playing naturally attracted many pupils. In
those days there were no Conservatoires or Academies
of Music ; and pupils were " articled," as in „ ..

our own country, to eminent organists, taking ^

much the same place as apprentices in any trade — ^in fact,
they were called apprentices. His first pupil, who was
also his amanuensis, was J. M. Schubart; of J. C. Vogler,
Gerber says that Bach considered him his best organ pupil.
He became Court organist and burgomaster of Weimar.

Another pupil was Joh. T. Krebs, who, however, did
not begin studying till he was married and had already
a post as organist at Buttestadt near Weimar, whence he
used to walk weekly to Weimar, for seven years, to obtain
instruction from Walther, and afterwards from Bach.

Krebs' son, Joh. Ludwig, became a pupil of Bach at
Leipsic at the age of thirteen, and Bach had a very high
opinion of him. He received the appointment of organist
of Buttestadt. According to Gerber, he was Bach's pupil
and assistant at the harpsichord for nine years, and was
second only to Vogler in eminence.

In repayment for his elder brother's care at Ohrdruf,
Bach took charge of his nephew Bernhardt at Easter, 1715,
^ No. 45 in the Genealogy.
D 49

Bach

teaching him the clavier and composition. Bernhard after-
wards was appointed organist of Ohrdruf, in succession to
his father. Some of his compositions still exist in MS.
and show the influence of his uncle.

Bach's duties at Cothen did not comprise any organ
playing or church music : in fact, he never held an
organistship after he left Weimar. The organ of the
castle was merely a little chamber instrument, with only
thirteen stops, of which ten belonged to the two manuals
and three to the pedals. .

The Prince was highly cultivated, with a great taste
for music, which had been developed by travels in Italy.
After the custom of German princes of that time, he
became a patron of art, practising it himself. Spitta
(vol. ii. p. 3) infers from an inventory in the ducal
archives at Cothen, that he played the violin, gamba,
and harpsichord.

There is no sign of there having been a trained chorus
at Cothen. One of the members of the band was Chr. F.
Abel, who afterwards became famous as a viola-da-gambist,
while his second son Karl Friedrich was the well-known
virtuoso on this instrument.

J. Schneider became a pupil of Bach's at this time.
He was a violinist in the band, but afterwards became
organist of the Nicolai-church at Leipsic. Bach's salary
here amounted to 400 thalers (about £60) ; it com-
menced from August i, though he remained in office at
Weimar until November.

The private performances at the castle were full of
zeal for art. The Prince would not part with Bach,
even for a short time, and took him on his journeys;
Bach reciprocated this feeling, and cherished his memory

Death of his Wife

after hi? early death. In the Royal Library at Berlin
is the autograph of a serenade written for the
Prince's birthday. It is scored for soprano and bass
solo voices, string band, harpsichord, two flutes and
one bassoon : this being the entire resources available.
The words, which are very meagre, are by an unknown
author, probably Bach himself. The cantata itself
is not published, but its music is used with other
words in the Whitsuntide Cantata " Erhohtes Fleisch
und Blut."i

In May 1718, and again in 1720, Bach and six
members of the orchestra accompanied the Prince to
Carlsbad. In November 17 18 the Prince and his
younger brother and sister stood god-parents to Bach's
seventh child, Leopold August, who died in the following
year. The fact of so many high personages standing
sponsor to this child is a proof of the estimation
in which the Prince's capellmeister was held.

Bach's artistic journeys were continued from time to

time, and on December 16, 1717, he found himself at

Leipsic again, in response to an invitation to r^

*^ . ° , ^ . , . J Examines a

examme a large new organ recently erected

in the University Church of St Paul. The "^^/jl^^

builder was Johann Scheibe, and Bach ■ ^

declared it to be one of the best organs in Germany.

In July 1720, on his return from the second visit with

Prince Leopold to Carlsbad, he was met with the terrible

news that his wife had died, and had been n th f

buried on the 7 th of that month. She was , .-^

only thirty-six, and was in good health when •' ■'

he left her. She had borne him seven children, had been

' Spitta, vol. ii. pp. 6, 7.

Bach

the best of companions, and was keenly sympathetic
towards her husband's work.

He went to Hamburg to perform a new cantata on the
text " He that exalteth himself shall be abased, and he
y. .. . that humbleth himself shall be exalted,"

TT I in November 1720. He found Reinken

* still playing the organ of St Catherine,
though now ninety-seven years old. Reinken, though
a very great artist, was vain, and jealous, and it was
a question how he would receive Bach. Mattheson,
who did not love him, said that he was a "constant
admirer of the fair sex, and much addicted to the wine
cellar of the Council," though he admitted that he had
no equal on the organ in his own style. Moreover, he
kept his instrument in excellent tune, and was always
talking of it. When Bach came, an appointment was
made, and he played for more than two hours, half an
hour of which was occupied in a masterly improvisation
on the chorale " By the waters of Babylon," in motet
style. After the performance, at which the chief men
of the city were present, Reinken came to him, and
saying, " I thought this art was dead, but I perceive that
it still lives in you," invited him to visit him, and treated
him with every attention. Reinken's praise was the more
complimentary, because he himself had copiposed and
published a very successful arrangement of the same
chorale.^

The organ at St Catherine had four manuals and pedal,

with an abundance of good reeds, of which Bach was

fond (a specification is in Niedt, Mus. Handl. II., p. 176).

There was also a posaune, a 32 ft. open diapason, and

> Hilgenfeldt, p. 26.

Deceived

a mixture of lo ranks. It dated from the sixteenth
century, and had been renovated in 1670 by Besser
of Brunswick. '^

A still larger instrument was that of St James' Church
in the same city, built by Arp Schnitker between 1688
and 1693, containing sixty stops, four manuals and pedal.
The organist of this church, H. Friese, had recently died,
and Bach, being tempted by the organ, and the prospect
of again having an opportunity of composing cantatas,
offered himself for the post.

There were seven other candidates, the two most im-
portant being a son of Vincentius Liibeck, and Wiedeburg,
capellmeister to the Count of Gera. An ^
examination was fixed for November 28, the , * t t
examiners being the elders of the church, ■' rr i
together with Gerstenbiittel the cantor, *

Reinken, and two other Hamburg organists, Kniller and
Preuss. Wiedeburg, Liibeck and one other candidate
retired. The tests were performances of the two chorales
"O lux beata Trinitas," and " Helft mir Gott's Giite
preisen," and an extemporised fugue on a given
theme.

Bach could not wait for the examination, since his
duties at Cothen required him to return home. He was,
however, excused having to submit to the test, on account
of his great reputation, and arranged to announce by
letter whether he would accept the post. He wrote in
the affirmative, though the contents of his letter are not
known. The committee had his letter publicly read, and
then elected an entirely unknown man, J. Joachim Heit-
mann, who had done nothing for the art of music, but
' Spitta, vol, ii. p. 18,

Bach

who on January 6, 1721, paid to the treasury of the
church four thousand marks, which he had promised in
the event of his being elected. The committee came to
the conclusion that "the sale of a post of organist should
not become a custom, since it pertained to the service of
God ; but if, after election, a person of his own free will
should show his gratitude by money payment, the church
should not refuse it."

Neumeister, a famous preacher, who had not been able
to prevent this extraordinary transaction, left the com-
mittee in anger. Mattheson thus describes the state of
public opinion when it became known.^ " I remember,
and no doubt other people still remember likewise, that
some years ago a great musician, who since then has, as
he deserves, obtained an important appointment as cantor,
appeared in a certain town of some size, boldly per-
formed on the largest and finest instruments, and at-
tracted universal admiration by his skill. At the same
time, among other inferior players, there offered himself
the son of a well-to-do artisan, who could prelude better
with thalers than with his fingers, and the office fell to
him, as may easily be guessed, although almost everyone
was angry about it. It was nigh upon Christmas-tide,
and an eloquent preacher, who had not consented to this
simony, expounded very beautifully the Gospel concerning
the angelic music at the birth of Christ, which very
naturally gave him the opportunity of expressing his
opinions as to the recent event as regarded the rejected
artist, and of ending his discourse with this noteworthy
epiphonema : ' He believed quite certainly that if one of

' In " Der Musicalische Patriot," 1728, quoted by Spitta, vol. iU
p. 20.

Seeking Handel

the angels of Bethlehem came from heaven, who played
divinely, and desired to be organist of St James' Church,
if he had no money he would have nothing to do but to
fly away again.' "

Bach had no equal in Germany as an organ player —
this was soon admitted on all sides.^ Handel's fame had
reached Germany from England, both as a composer and
organ player. Comparisons were made between Handel's
oratorios and Bach's cantatas and Passion music — the
former were widely known, while the latter were hardly
yet appreciated, and were forgotten after the death of the
composer.

We have a contemporary opinion in Mattheson, who
had often heard Handel. " No one," says he, " can easily
surpass Handel in organ playing, unless it were Bach of
Leipsic, for which reason these two are mentioned first,
out of their alphabetical order. I have heard them in
the prime of their powers, and have often competed with
the former both in Hamburg and I.iibeck."^ Handel,
however, did not devote himself so entirely to the organ
and organ compositions as Bach; he left no unaccom-
panied solos for that instrument. Moreover, it is doubt-
ful if he found instruments of respectable size in England.

Bach and Handel never met, though they were twice

very near one another. Handel came to „ ,

Tj 11 u- i.- .. ■ VI Endeavours

Halle, his native town, in 1 7 1 9, while on a . .

journey as impresario for the opera in Lon- tt d 1

don. Bach hearing of it, made a journey to

Halle from C6then,.but unfortunately arrived there the

very day Handel had left. In 1729, he made another

' Scheibe Kritikus Musicus, 1745, pp. 839, 875.

' VoUk. Capellmeister, 1739, quoted by Spitta, vol. ii. p. 26.

Bach

attempt to meet Handel by sending him a polite invitation,
through his son Friedemann, to come to Leipsicj but
Handel refused the invitation. On a third visit of Handel
to Halle, Bach was dead. Bach greatly admired Handel's
music, and copied some of it for his own use.

We have seen that Bach's first wife died in 1 720. It was
not at all in accordance with the family traditions to remain
D II a widower, and in 1 7 2 1 he began to think of

, ., re-marrying. He opened negotiations in this
^ year with Anna Magdalena Wiilken, a Court
singer at Cothen, twenty-one years old, and the youngest
daughter of the Court trumpeter, and was married to her
on December 3 in the same year.

Bach's second wife was a good musician, and had a fine
soprano voice, which she used for the performance of her
husband's works in the privacy of the home circle. She
had lessons from her husband in clavier and figured bass
playing, and also gave him immense help in copying
music; amongst other things, her MS. copy of a great
part of Handel's Passion-music still exists.

Just before Bach's second marriage the widow of his
uncle Tobias Lammerhirt died, leaving him part of her
estate. This was the uncle who died just before Bach's
first marriage, leaving him a legacy. The second acces-
sion of money caused some trouble. The distribution
under the will of the widow was disputed in the names
of five relations, Joh. Christoph Bach of Ohrdruf, Joh.
Jacob Bach, Joh. Sebastian Bach, Maria Wiegand (born
Bach), and Anna Zimmermann (born Lammerhirt). Un-
fortunately for the petitioners, they had used the names
of the three Bachs without ever informing them. As a
matter of fact, Joh. Christoph was already dead, and Joh.

A Large Family

Jacob was in Sweden ; Job. Sebastian was most indignant
when he heard of it, and wrote to the Council of Erfurt
disclaiming both for himself and his brother all desire to
dispute the will ; saying that they were perfectly satisfied
with their share, and that the petition was drawn up with-
out any notice being sent to them. The proceedings were
then dropped at once, and nothing more is heard of them.

Immediately after their marriage the Bachs started a MS.
music-book between them, entitled " Clavier Biichlein vor
Anna Magdalena Bachin, Anno 1720," on ,. .

the first page of which is written a playful ^, .

inscription to the effect that the book was „ ,

directed against the Calvinism, and its at-
tendant melancholy and hostility to all art, which was
rife at Cothen at this period. This book was followed in
1725 by a second and larger book ; both are preserved in
the Royal Library at Berlin. The books contain various
clavier compositions by Bach, Bohm, Gerhard and others,
besides sundry hymns and sacred songs, also a song on
the reflections of a smoker ; and others evidently addressed
to his wife, to whom he was devoted.

He had thirteen children, six sons and seven daughters,
by this wife ; making, together with those by his first wife,
nineteen children in all.

Anna Magdalena's portrait was painted by Cristofori,
and came into the possession of Philip Emanuel, but it
has now disappeared.

Most of his chamber music was written at Cothen,
where he remained more than five years.

His position was so peaceful and pleasant that he pro-
posed to spend the rest of his life there. His prince was
in full sympathy with him, as we have seen. He had

Bach

none of the contentions which seem to be almost in-
evitable between an organist and his church authorities
when the organist wishes for anything beyond a mere
conventional standard of church music.^ He' had nothing
to do with either the composition or performance of
church music; and if he had remained there the world
would have been the poorer by the Passion-music and
nearly all the cantatas. Fortunately for us, however, his
circumstances altered. His prince married a lady who
had no sympathy with music or its professors, and his
interest in music began to flag. After five years Bach
found himself again obliged to seek another post : and
he found one in which he remained till his death.

^ After leaving Cothen, Bach still held the title of honorary Capell-
meister to the Prince, until the death of the latter in 1728. Bach
composed a "Trauer Musik" for his funeral, which is unfortunately
lost.

The Thomasscliulc at Lcipsn

Chapter V

The position and duties of the Cantor of St Thomas' School at Leipsic —
The condition of the school in 172a — Kuhnau's death — Competition
and election of two cantors in succession — Bach offers himself — Is
elected — Difficulties with the authorities. The Council make irritat-
ing regulations — Bach endeavours to leave Leipsic — Election of a new
Rector, and temporary disappearance of Bach's troubles.

Of the three ancient schools at Leipsic, St Thomas,
dating from the thirteenth century under the Augustines,
was the oldest and most important. It was ^. „, ,
endowed with no less than fifty-four scholar- „ , .

ships for the encouragement of church music, j . .'

and its cantor was a person of considerable ^

importance, who ranked next below the Rector and
Conrector. These three officials, together with the chief
Latin master, were " Superiores," who kept apart from the
" Inferiores " or lower masters. The cantor's duty was to
teach singing for seven hours a week, to take the boys to
church on Thursdays at 7 o'clock in the morning, and to
give certain Latin lessons. He had also to take his turn
with the other Superiores in inspecting and examining the
boys for one week in four. The boys lived with them, and
the regulations of the school required all to get up at 5 in
summer, 6 in winter, to dine at 10, to have supper at 5,
to go to bed at 8.

The boys of the Thomas-school had to supply the

Bach

music every Sunday in four churches, St Thomas, St
Nicholas, St Peter and St Matthew ; but at St Peter's only
chorales were sung, so that the younger singers sufificed for
this duty.

A motet or cantata was performed every Sunday at
the Thomas-Church and Nicolai-Church alternately : a
custom which still continues ; the service is at 9 a.m., and
the cantata, which is always accompanied by the town
orchestra with the organ, takes somewhat the place of the
anthem in an English cathedral. The composition to be
performed on each Sunday is now announced in the
previous Saturday's papers.

On great festivals the music was performed in both
churches at once, and twice a day. The cantor was
responsible for the music at one church, the choir
prefect for that at the other.

In order to lighten the work that this must have
imposed on the boys, the choir that sang at St Thomas
in the morning would sing the same music at St Nicholas
in the afternoon ; and the cantata which was sung at St
Nicholas in the morning would be repeated at St Thomas
in the afternoon. The rehearsals took place on Saturday
afternoons from about 2.30 to 4.

Wedding and funeral music had also to be supplied
by the cantor. Moreover he had not only to choose the
music for these occasions, and teach it to the choir, but
appear in person to direct it, though he frequently left
the last duty to the prefect.

The choristers had to take part in certain processions at
Michaelmas, New Year, on St Martin's and St Gregory's
days : and these performances were conducted by the
prefects. For this purpose they were divided into four

Office of Cantor

choirs, but the four choirs had only two or three voices
for each part. The cantor had to direct the music in
the two other churches, i.e. St John and St Paul, to in-
spect their organs, and to superintend the town musicians
who took part in the church music.

The holidays consisted of one week during each of the
fairs,^ followed by a week of half-holidays. In the sum-
mer four weeks of half-holidays. Morning lessons were
omitted on Saints' days, funeral days, and academical
speech days. Four whole holidays in the year took place
on the " Name days " of the four principal masters.

In Lent no church music was performed, except on
the festival of the Annunciation; and on the last three
Sundays in Advent there was no church music.

The above list of holidays may seem at first sight
ample ; but it had this great drawback : the masters were
never free, as in English schools, to go away for change
of scene. The boys appear to have lived with them
throughout the year. It is possible that German boys
do not cause so much anxiety to their masters as English
boys, and that work was not carried on at such high
pressure as nowadays ; it is quite certain that no master
of an English public school could pursue his work con
tinuously, year after year, as these old Germans seem to
have done, without breaking down in health.

The cantor was provided with a residence in the school :
the salary was loo gulden (about jQiz), but the whole
income from various sources amounted to about 700
thalers (about ;£ioo), together with certain allowances

^ The three fairs, called "Messe,"are held at Easter, Michaelmas
and New Year. Leipsic is at these times crowded with merchants
from all parts of the world.

Bach

of corn, wine and firewood. A curious custom, though
not an uncommon one in those days, was, that certain
scholars twice a week went round the town to collect
donations for the school ; and out of these, 6 pfennige
(about three farthings) per week were taken for each
scholar and divided between the four upper masters.
The moneys collected during the processional singing
in the streets, and also the fees paid for funerals and
weddings were divided according to certain fixed rules.
Bach mentions to Erdmann that when the air of Leipsic
is good there are few funerals, and therefore the cantor's
income is smaller. Many efforts were made by the public
to evade these taxes, by holding funerals and weddings
without music; and there arose a certain feeling of in-
dignation that an important school and church official
should partly derive his means of subsistence from money
obtained by begging.

Owing to the insufficiency of accommodation the school
was a centre of illness, until the building was enlarged.

The Rector, Ernesti, was very old — he was a learned
man, but was not able to control either masters or boys.
The former quarrelled among themselves, and neglected
their duties ; the boys were undisciplined, and the many
calls on their time for musical performances made their
education difficult. When Ernesti was appointed there
were one hundred and twenty boys in the lower school ;
there were now only fifty-three.

The scholarships had plenty of applicants, but the better
class of citizens sent their sons to the other schools. The
lowest classes of the Thomas School consisted of boys of
the worst character, who went about the town barefoot
and begging.

Troubles

All reform which might result in curtailing his salary
was opposed by Ernesti, and the cantor seconded his
opposition. Things therefore grew worse and worse till
his death in 1729. In 1730 the superintendent reported
that the school had run wild, and that there were so few
scholars that it was proposed to close the lower classes
altogether. As to the singing, it must have been very
bad. The slow processions in the worst of weather, the
running up long flights of stairs to sing before the doors of
the higher "flats" ruined the voices. Kuhnau „, ,
complained in 1 7 1 7 that the trebles lost their , .

voices before they had learned to use them.
In addition to this, they were undisciplined and often
feeble and miserable from illness, so that they did not
offer an attractive material for the cantor to work upon.

Kuhnau worked his hardest to remedy this state of
things, but without avail. In reply to his very reasonable
request that at least two trebles should be set apart for
church music only, and not allowed to run about the
streets and attend funerals for money, the Council
took no further steps than to allow 4 gulden for this
purpose, and that two boys should be released from the
winter processions.

When from 1693 to 1729 a house in the Briihl, one
of the chief streets of Leipsic, was used for the perform-
ance of operas during the fairs, much damage was done to
the musical tendencies of the inhabitants of Leipsic. The
students of the University, who had formerly taken an
important part in the performance of the church cantatas,
now left Kuhnau (after he had been at the troulde of
training them), and joined the chorus of the opera. The
trouble was most acute when Telemann was organist of

Bach

the Church of St Matthew. He had been a student in
the University, had composed an opera, and had formed
a musical society amongst the students. Looking upon
him as one of themselves, they entirely left Kuhnau,
who had to supply the music for the churches as best
he could. A new and operatic style of music came
into vogue under Telemann at St Matthew's Church,
which became very popular; and his musical society
became the most important in Leipsic. There were
sixty members, who practised twice a week from 8 to
10 in the evening, and their performances, which took
place during fair time, became important. This " Musical
Union" practised in the coffee-houses, and members of
the public were admitted ; its meetings had none of the
formality of school practice, but were cheerful and
attractive. Some of its better instrumentalists obtained
engagements in good bands, as at Dresden, Darmstadt,
Wolfenbiittel and Hamburg.

Telemann's post, when he left, was successively occupied
by good musicians, and the union and opera were kept
up ; the cantor had, in consequence, a hard time of it.
At festivals and fairs, when he was naturally anxious to
do well before the public, he had nothing to rely on but
a few inefi&cient town musicians and unruly schoolboys.

The organ at the Thomas Church was "belaboured
first by one, then by another pair of unwashed hands,"
the director of the music being either unable to play it,
or absent. Kuhnau begged that a regular organist should
be appointed, but he begged in vain. The Council, like
everyone else, were more interested in the attractions of
the opera than in the serious music of the two important
churches.

The Thomas School

At last even the boys took to the opera. Those who
had any voices got engaged by an impresario, ran away
from school, and returned only to appear in the theatre
during fair time, thus exciting the admiration and envy
of their former school-fellows. The music at the Thomas
School had reached its lowest ebb at the time of Kuhnau's
death.

Kuhnau, the cantor of this School of St Thomas at
Leipsic, died on June 5, 1722. Six candidates applied
for the post — Fasch, a former pupil of Kuhnau, and now
capellmeister to the Prince of Anhalt-Zerbst \ _j, „
RoUe, musical director at Magdeburg, and j. v- 1.
formerly organist of Quedlinburg ; Telemann,
who had composed cantatas for St Thomas' Church, and
operas for the Leipsic theatre, cantor at Hamburg ; G.
F. Kaufifmann, a pupil of Buttstedt, and organist of Merse-
burg ; Graupner, capellmeister of Darmstadt ; and Schott,
the organist of St Matthew's Church at Leipsic.

Telemann was elected, and arrangements were made
for his installation, when he wrote from Hamburg that
he would not accept the office. The Council were
therefore, much against their will, obliged to elect
another, and their choice fell on Graupner, who had
been nine years a boy in the Thomas School, and was
a pupil of Kuhnau. He was considered one of the
best composers for the harpsichord of the day. He
was backed by strong recommendations and testimonials
from Heinichen, the capellmeister of Dresden, but the
Landgrave of Hesse-Darmstadt refusing to part with him,
he was forced to retire.

At the end of 1722 Bach, after long and anxious
deliberation, offered himself for the appointment.

E 65

Bach

He did not wish to leave his comfortable post at
Cothen, and moreover the position of cantor was
somewhat less dignified than the office of capellmeister.
T) 1, jf On the other hand, the education of his sons
, . ,¥ could be better carried out at Leipsic, and
■^ the marriage of the Prince had to some

extent put him out of favour. After some three months'
hesitation, acting on the advice of friends, he went to
Leipsic and performed his test piece, "Jesus nahm zu
sich die Zwolfe" (Peters, 1290), on February 7, 1723.

On the retirement of Graupner Bach was chosen, with
the proviso that if he could not teach all the Latin
required, they would pay a deputy to do it for him. Not
wishing to be behind his predecessor Kuhnau, he under-
took all the duties, but soon finding the Latin too much
of a task, he paid his colleague Pezold 50 thalers per
annum to relieve him of this part of his work. He had
to sign an agreement to lead a respectable and sober life ;
_,, to be faithful and diligent in the perform-

. . ance of his duties ; to have a proper respect

^^^ ^ for the Council; not to make the church
music too long or too operatic; to instruct the boys in
instrumental as well as vocal music ; to treat them with
humanity; not to send incapable singers to the New
Church ; ^ not to make any journeys without permission
from the Burgomaster; and not to accept any office in
the University without leave from the Council.^

After signing this agreement, he had to pass an ex-
amination as to his religious views, and on the 13th
of May 1723, he was confirmed in the appointment:

' i.e. the Church of St Matthew.
' Spitta, vol. ii. p. 186.

Cloud and Sunshine

though the installation did not take place till the
31st.

Bach's residence was in the left side of the school
buildings: but in 1731 the building was enlarged and
he for a year lived in a temporary residence, for which
the Council paid a rent of 60 thalers.

This particular post of cantor was one of the most im-
portant in Germany and had been always held by a dis-
tinguished man. The work was not heavy, though the
list of duties seems a long one ; and he would have time
for his own engrossing occupation of composing. He
still held the rank of a capellmeister, and in addition
to that of Cothen, he was given honorary rank as capell-
meister of the Court of Weissenfels in the year he removed
to Leipsic.

And with the resumption of church work came diffi-
culties of many kinds. The authorities never, from first
to last, recognised that they had one of the -, , .
world's greatest geniuses to deal with ; in fact . , ,

they did not require a genius ; all they asked ^ ^ . •. ■
was that their cantor should be able to
carry out the church music in a respectable conventional
manner. Bach, with his lofty ideals, was so often at
variance with them that the history of his life at Leipsic
seems at first sight to consist of one long turmoil and
trouble.

Yet there are bright spots in the picture ; and nothing
was able to disturb the equanimity with which, in spite of
external rubs, he for twenty-seven years continued to pour
forth his marvellous Passion music and cantatas.

It was very important from Bach's point of view that
he should be in a position to control and regulate all the

Bach

church music that was performed at Leipsicj and for
this purpose he was obliged to take steps to obtain control
of the students' chorus, which now sang in the University
Church. The organist there was Corner, a conceited and
not very competent musician, who had been in the habit of
directing the music after Kuhnau's death.

Corner persuaded the authorities that the cantor
of St Thomas could not possibly serve St Paul's^ as
well as St Thomas and St Nicholas; and he there-
fore continued in his post as musical director to the
University.

The music for the University Festivals had, however,
been from time immemorial conducted by the cantor;
and Bach seems to have gained his way in the
matter. The cantor had a special payment for these
services; but Corner had appropriated part of it.
Bach tolerated this for two years, and then addressed
a letter to the King of Saxony explaining that he, by
A Am J '■'S'^^ °^ office, conducted the music, but was

,■, ■^. only paid half the official salary. The letter

° was dated September 14, 1725, and on the

17th the Ministry of Dresden wrote to the University

requiring them to restore the salary to the petitioner,

or to show their reasons for not doing so.

The University wrote justifying themselves, whereupon
Bach, suspecting that they had not properly stated the
case, petitioned the King to allow him to see a copy of
their justification. He wrote a refutation of this, and

• i.e. the University Church. In Bach's lime there were six
churches at Leipsic — St Thomas, St Nicholas (or Nicolai), St Paul
(or University Church), St Matthew (or New Church), St Peter (01
Petri), and St John.

St Thomas' Church, Leipsic

'Matthew Passion' Music

the business dragged on till May 23, 1726, when a
document, which seems to have been in Bach's favour,
was presented to the University, and the matter appears
to have ended. He and Corner were both employed to
compose the music for extra festivals, but Bach the more
often.^

Though Bach put all his energy into the music at the
two chief churches, he took care not to be merely a
cantor. He had formerly been, and still held honorary
rank as capellmeister ; and having a very proper pride in
himself and his profession, he now always called himself
Director Musices and Cantor. Considerable importance
is attached in Germany to such titles as Professor,
Doctor, Capellmeister, Musicdirector, etc., which have
a recognised order of precedence ; and it is significant of
the conditions that prevailed between Bach and his
church authorities that the latter nearly always persisted
in giving him the lower title of cantor.

The first performance of the Matthew Passion music
took place in Holy Week of 1729. In his efforts to
improve the choir, he had asked the Council to allow
nine of the scholarships to be allotted to boys with
voices : and he hoped that the magnificent Passion
music he had just composed and performed would show
them the importance of providing better material;
but all was in vain. They took no notice of his request,
and showed a complete ignorance of the value of their
cantor's work.

About this time he became conductor of the Musical

* According to Spitta, vol. ii. p. 223. But Corner's name appears
in the "Chronicle" far more often than that of Bach in connection
with the music for these festivals.

Bach

Union, which had been founded by Telemann, but even

here troubles arose. The Union was expected to

strengthen the choir at St Thomas' Church. No money,

however, being available to pay the students who took part,

they naturally fell off. Yet when the church music

deteriorated the Council were the first to blame the

cantor.

They now began to observe, or imagine they observed,

neglect of duty on his part, and addressed various warn-

D , . ings and admonitions to him. He became

, . , , defiant and refused to explain, whereupon
admonished ^, -j i.i. ,. u • • -ui t-u

they said that he was incorrigible. The

chief trouble arose over the teaching of Latin. We have
already seen that the Council had originally offered to
pay a deputy to do this part of the cantor's work, but
that Bach had undertaken the whole. Finding it too
irksome, however, he had himself paid Pezold to act as
his deputy, but the Council, considering Pezold incompe-
tent, wished to employ one Kriigel. Instead of settling
the matter by insisting on Bach's doing the work himself,
they showed their petulance by bringing charges against
him of not having behaved with propriety, of sending a
member of the choir into the country without giving
notice to the authorities, of going a journey without
permission, of neglecting his singing classes, and, in
short, of doing nothing properly. At first it was proposed
to put him down to one of the lowest classes, next to
refuse payment of his salary, and at the same time to
admonish him. His doing " nothing '' consisted in com-
posing and conducting an enormous number of church
cantatas, including the Matthew Passion.

But the Council merely required hack work of him,

Vestry Squabbles

and no doubt as they paid him to do hack work
(which could probably have been equally well done
by an inferior musician) they had a right to de-
mand it.

He had, it is true, given over half the singing practices
to the choir prefect, but this was only in accordance with
long established custom, and no one had previously com-
plained. Moreover the Council themselves had refused
Bach's request for a more efficient choir, and it was
only natural that he should not take much interest in
the drudgery of teaching an unruly rabble, when he
was occupied with work which was to prove so much
more important to the world at large.

In the constant state of conflict between masters, boys,
Council and Consistory, Bach chose to go his own way.
With the Rector, Ernesti, who troubled himself little
about the musical arrangements, he had been on ex-
cellent terms.

Several stories are told of the petty tyranny sought to
be exercised over the great man by an ignorant and fussy
vestry. Thus, Bach insisted, for sufficient reasons, on
his right of choosing the hymns and ignoring those
selected by Gaudlitz, the subdean of St Nicholas. Gaud-
litz reported him to the Consistory, who sent him a notice
that he must have the hymns sung which were chosen by
the preacher. He therefore appealed to the Council,
showing that it had been the custom for the cantor to
select the hymns. This caused a squabble between the
Council and the Consistory, but it is not known how the
matter ended.

Another instance occurred over the announcement of
the performance of a Passion music, for which the Council

Bach

suddenly discovered that their permission was necessary.
The work had been performed several times previously,
and the irritating restriction was entirely uncalled for.
Bach simply reported to the superintendent of the Con-
sistory that the Council had forbidden the performance ;
and thus produced another quarrel between the two
bodies which was to his advantage.

Bach had not only to organise and train his choir, but to
teach some of his pupils to play on instruments, since the
IneMciencv '■°^" musicians were only seven in number,
of Musicians '^""'^ ^^""^ ^"^ *''^^ ^*""S players. Money
was not forthcoming to pay professional
musicians, though there were plenty in Leipsic. Bach
therefore got hold of the more gifted of his pupils and
taught them instruments, and many of them became
accomplished artists.

The regulations ordered that two hours of singing
practice should be held on Mondays, Tuesdays and
Wednesdays, from 12 to 2 ; but as this arrangement
interfered with the cantor's dinner hour, his colleagues
petitioned that it should be changed. The Council
refused to alter the regulation, and in consequence Bach
soon began to absent himself.

As the Council could not withhold his salary, they
not only confiscated certain fees collected for various
(-, j; f- outside duties but also contrived that he
, P should obtain no benefit from a legacy left to

■' be divided among the teachers and poorer

scholars of the School. Bach was silent for a time, but,
when at last forced to speak, he wrote a long letter,
showing how absolutely inadequate were the means placed
at his disposal : incompetent town players, with mere

Sick of Leipsic

boys to complete the bands j singers who, not having
had time to be trained, were obliged to be admitted to
the vacant places before they had any knowledge of music ;
choirs with only two voices to a part, one of whom would
often be, or pretend to be, ill.

Bach's letter irritated the Council, who, however, let
the matter drop after expressing their opinion on it.

The Council acted according to their lights. Though
they would not give Bach the means he required for
carrying out the music properly, they could understand
when an organ required repairing, and voted sums of
money from time to time for this purpose, and for the
purchase of violins, violas, violoncellos for church use ;
and they allowed Bach to purchase Bodenschatz's Flori-
legium Portense ^ for the use of the scholars. They did
not actively hinder Bach's development, but they had no
conception of the greatness of the man they had to do
with. They curtailed his income in a moment of anger,
but soon afterwards reinstated it.

Bach became thoroughly hurt, and sought for a means
of leaving Leipsic. The friend of his boyhood, Erdmann,
now held a post at Dantzic, under the Emperor of Russia,
and to him Bach applied, in an interesting d i / •
letter which is still extant.^ He describes ,

his wish to leave Leipsic under four heads: , . .

( I ) that the post was by no means so advantage- "

ous as he was led to expect ; (2) that many of the fees had
been stopped ; (3) that the place is very dear to live in ;
(4) that the authorities were strange people, with small
love of music, who vexed and persecuted and were jealous
of him. Bach asked Erdmann to find him a post at

* See Glossary, " Spitta quotes it in full, vol. ii. p. 253.

Bach

Dantzic, but nothing came of it, for he remained at
Leipsic. In spite of the high prices of necessities, he
saved enough to leave behind him a well-furnished house,
a sum of money and a collection of instruments and books.
Like many other good organists he had his rubs with an
unthinking vestry, but got over them.

The Rector, Ernesti, died in 1729, and in 1730 Bach's
Weimar friend, Gesner, was appointed : a member of the
Council saying that he "hoped that they would fare better
in this appointment than they had done in that of the
cantor." ^

The new rector was in most respects the opposite of
Ernesti. He was energetic ; had the power of governing,
with a special talent for the management of schoolboys.
He was a brilliant scholar, and did much to revive the
study of Greek as part of a mental and moral training
rather than as a mere intellectual gymnastic.

The Council were delighted, and did everything for
him. As he was in delicate health they not only had
him carried to and from the school in a chair, but re-
mitted his duty of inspecting the school once every
three weeks. He smoothed over the disputes among
the masters so that they were no longer at enmity
among themselves; won the affection of his pupils by
his new methods of instruction, his interest in their
welfare, and the enforcement of discipline and morality.

The State, he said, had need of every kind of talent :
and if he saw boys working at something useful, which was
not actually school work, he would encourage them. He
also revived the Latin prayers morning and evening, which
had been replaced by prayers in the German language,
' Spitta, vol. ii. p. 243.
74

A Vast Combination

Between him and Bach there grew up a strong friend-
ship. He helped the music in every way he could :
himself applying to the Council for the books, etc., re-
quired by Bach.

Gesner, in his appreciation of Bach, appends a note
in his edition of the Institutiones Oratoriae of Quinti-
lianus, to the author's remark on the capacity ^ ,
of man for doing several things at once, such . . .
as playing the lyre, and at the same time -^
singing and marking time with the foot. He says, " All
this, my dear Fabius, you would consider very trivial could
you but rise from the dead and hear Bach : how he, with
both hands, and using all his fingers, either on a keyboard
which seems to consist of many lyres in one, or on the
instrument of instruments, of which the innumerable pipes
are made to sound by means of bellows; herewith his hands,
and there with the utmost celerity with his feet, elicits
many of the most various yet harmonious sounds : I say,
could you only see him, how he achieves what a number
of your lyre-players and six hundred flute-players could
never achieve, presiding over thirty or forty performers all
at once, recalling this one by a nod, another by a stamp
of the foot, another with a warning finger, keeping tune
and time j and while high notes are given out by some,
deep tones by others, and notes between them by others.
Great admirer as I am of antiquity in other respects, yet I
am of the opinion that my one Bach, and whosoever there
may chance to be that resembles him, unites in himself
many Orpheuses, and twenty Arions." ^

' Quoted by Bitter, vol, i. p. 303. This appreciation of the skill
required to conduct a musical performance is remarkable as coming

Bach

Gesner did all he could to smooth away Bach's troubles,
and probably the latter was much happier than under the
disorder which prevailed while J. H. Ernesti was rector.
Moreover, after one more dispute, Bach and the Council
at last learned to understand one another, and quarrelled
no more.

from one who, not being musical, might be expected to think, with
the majority of non-musicians, that the conductor merely has to " beat
time."

Chapter VI

Home life at Leipsic — Personal details — Music in the family circle —
Bach's intolerance of incompetence — He throws his wig at Gorner
— His preference for the clavichord — Bach as an examiner — His
sons and pupils — His general knowledge of musical matters —
Visit from Hurlebusch — His able management of money — His
books and instruments — The Dresden Opera — A new Rector, and
further troubles — Bach complains to the Council.

Let us now turn for a moment from this account of
troubles and see what the man was like in his own
home. We have fairly full accounts from which to
draw a picture. It was related in chapter i. how the
various members of the Bach family clung together,
meeting once every year at various towns. The same
traits are found in the household. The pupils and
sons all loved him. His character was amiable in the
extreme, but at the same time such as to command
respect from all. Of his hospitality, especially towards
artists, we have special mention ; no musician passed
through Leipsic without visiting him. He never cared
either himself to blame, or hear others find fault with,
his fellow-musicians. Of the Marchand incident he
would never willingly speak. He was modest in the
extreme, and never seemed to know how much greater
he was than all the musicians he was fond of praising.
In the midst of all his occupations he found time for

Bach

music in the family circle, and in later years he used to

prefer playing the viola, as he was then " in the midst of

„ rv the harmony." He would occasionally ex-

Home Life . . ■; . ^ ^ .1. . ■ . 1

■' temporise a trio or quartet on the harpsichord

from a single part of some other composer's music : if the

composer happened to be present, however, he would first

make sure that no possible injury would be done to his

feelings.

Though kindly and generous in his criticisms of others,
he would never tolerate superficiality and incompetence.
He was therefore looked upon as an excellent examiner
when a new organist was to be appointed to a church.
He was quick-tempered, like most musicians in matters
of music. It is related that on one occasion, when the
organist of the Thomas Church, Corner, made a blunder, he
pulled the wig off his own head, threw it at Corner, and, in a
voice of thunder, cried : " You ought to be a shoemaker."

His favourite instrument was the clavichord, on account
of its power of expression : and he made his pupils chiefly
practise on this. He learned to tune it and the harpsi-
chord so quickly that it never took him more than a
quarter of an hour. " And then," says Forkel, " all the
twenty-four keys were at his service : he did with them
whatever he wished. He could connect the most distant
keys as easily and naturally together as the nearest re-
lated, so that the listener thought he had only modulated
through the next-related keys of a single scale. Of harsh-
ness in modulation he knew nothing : his chromatic
changes were as soft and flowing as when he kept to
the diatonic genus."

Of his conscientiousness in examining organs and
organists, Forkel ironically remarks, it was such that

Of Many Parts

he gained few friends thereby. But when he found
that an organ-builder had really done good work, and
was out of pocket by so doing, he would use his influ-
ence to obtain further payment for the man, and in
several cases succeeded.

If he happened to be away from home with his son
Friedemann on a Sunday, he would make a point of
attending the church service. He would criticise the
organist ; would tell his son what course the fugue ought
to take (after hearing the subject), and would be delighted
if the organist played to his satisfaction.

He did his best for his sons and pupils ; in fact he
treated the latter as sons. He sent his two eldest sons to
the University of Leipsic, and used his influence to get
appointments for them and their brothers. On the mar-
riage of his daughter Elizabeth with his pupil Altnikol, he
obtained an organistship for him at Naumburg without
informing him beforehand.

Though he would have nothing to say to musical mathe-
matics, his knowledge of everything to do with the art and
practice of music was astounding. He was intimate with
every detail of organ construction ; he not only tuned but
quilled his own harpsichords, and, as we shall see later,
he invented new instruments. When he was shown the
newly built opera house at Berlin, he observed the con-
struction of the dining saloon, and said that if a person
whispered in a corner, another person, standing in the
corner diagonally opposite would hear every word, though
no one else could do so. Experiment proved this to be
a fact, though neither the architect nor anyone else had
discovered it.

An amusing story is told of a visit paid to him at

Bach

Leipsic by one Hurlebusch, a superficial and exceedingly
conceited organist. Hurlebusch had the reputation of
being angry if his listeners praised him instead of being
so overcome with his playing that they could say nothing.
His visit to Bach was made, not to hear but to be heard
by, and to astonish, the great man. Bach took him to
the harpsichord and listened attentively to a very feeble
minuet with variations. Hurlebusch, taking Bach's
politeness as a recognition of his great talent, showed
his gratitude by presenting Friedemann with a printed
collection of very easy sonatas, recommending him to
practise them diligently. His host, who could hardly
repress a smile, thanked him politely, and took leave of
him without in the least betraying his amusement.

When we think that the education of his large family,
the hospitality to strangers, the journeys to try organs in
various places, were all accomplished on an income of not
much over ;!f loo a year, we must admire the business-
like capacity of the man, even though all due allowance
is made for the difference in the purchasing power of
money in those days.^ But he managed to collect a by
no means contemptible library of music and theological
books; for in his simple piety he took great interest
in religious questions. He also possessed a goodly
number of keyboard instruments, several of which he

^ A rough estimate of this difference may be made thus : The Coun-
cil paid 60 thalers = ;£'9 a year for a "dwelling" for Bach during the
alterations to the Thomas School. Such a "dwelling" or "flat"
would now cost about ;^6o a year. An income of ;^loo in those
days would therefore represent the purchasing power of about ;f630
now : not a large sum on which to give nineteen children a first-
class education, and send two to the univeisity.

More Storm

gave to his sons on their obtaining appointments. Of
stringed instruments he possessed enough for the per-
formance of concerted music in the home circle. Some
few of his personal belongings are preserved in the
De Wit collection at Leipsic, not twenty yards from his
residence. They consist of his clock, a few pictures and
trifles belonging to his study table, and show at once that
they come from a house of refinement and comfort.

In later life he heard and studied with great pleasure
the works of Fux, Handel, Caldara, Keiser, Hasse, the
two Grauns, Telemann, Zelenka, Bendax, and others. He
knew most of these personally, and received Hasse and
his wife Faustina as visitors at Leipsic. He often went to
Dresden from Leipsic to hear the opera there, and used to
say to his son " Friedemann, shall we not go and hear
the pretty little Dresden songs again?" He was, says
Forkel, far too deeply interested in his art and „ ,
his home life to enrich himself by travelling - c- >>/
and exhibiting his powers, though he might, -v^ /.,
especially at the time in which he lived, have „. /

easily become wealthy by so doing. He pre-
ferred the quiet homely life, and the unbroken work at
his art, and was contented with his lot. The " glory of
God," not fame, was his object. But though his home
life and his work were a source of so much happiness, the
external horizon began to be stormy again.

Gesner resigned his post in 1734, and was succeeded
by the Conrector, Joh. August Ernesti, a young and
learned man, who, however, had no sympathy with music.^

'For his installation Bach composed a cantata "Thomana sass
annoch betriibt " — " St Thomas School was still in grief." From the
Leipsic Chronicle, 1734, quoted in Ceniralblatt, 1884.

F 81

Bach

He was at first on excellent terms with the cantor, and
was godfather to two of his sons ; but, unfortunately, his
want of appreciation of music led, within a short time, to
trouble. Poor Bach seems at Leipsic to have been rarely
free from disputes and worries. It is true he was proud,
sensitive, and irritable, where the dignity of his art or his
own personal rights were concerned; but that the fault
was not all on his side is shown by his friendly relations
with the Dukes of Weimar and Cothen, and with all true
artists. His reputation throughout Germany was by this
time enormous ; and in Leipsic itself he was considered
by all except the Council and Consistory, as the " glory
of the town." It is true his compositions were heard with
more respect than appreciation ; but his fame as an organ-
ist, harpsichord player, and learned musician was recog-
nised at Leipsic as elsewhere.

The trouble with Ernesti was not of an uncommon
nature ; where there is a want of appreciation of music on
the part of learned men, there is very apt to be jealousy
of the reputation and influence of its professors. Disputes
arising from this cause seem to have been not at all rare
in Germany at the time. Ernesti hated music, and was
undignified enough to make sarcastic remarks to any boy
whom he happened to see practising an instrument. He
endeavoured, being young and active, to intermeddle in
the musical arrangements, with serious results. There is
preserved in the " Acta " of the Town Council, a " Com-
plaint" by Bach, dated August 12, 1736, to the effect
that the Rector Ernesti had exceeded his powers by
promoting the prefect of the second choir to be prefect
of the first. This may appear at first sight an unimport-
ant matter; but, as Bach points out, the prefect of the

War with Rector

first choir must not only be chosen on account of his
voice and character, but he must also have „,

the ability and knowledge to conduct the . .
music when the cantor is not able to be -^ ^, .
present. It stands to reason, therefore, that p f t

the cantor is the only person who can make the •'

selection. On the following day Bach addressed another
letter to the Council saying that Ernesti had threatened to
reduce and flog any boys who obeyed the cantor's direc-
tions ; that he (Bach) had not allowed the " incompetent
Krause " (the prefect chosen by Ernesti) to conduct the
motet at St Nicolai, but had requested a student, Krebs,
to do so ; that the boys were afraid to obey Bach in con-
sequence of the rector's threats ; and that his authority,
which was necessary for the proper performance of the
music, would be destroyed if this kind of thing were
allowed to go on. The quarrel continued j Bach wrote
two more letters, and, since the Council would not move,
he appealed to the Court at Dresden. Ernesti also wrote
stating his side of the question. This Krause was a
mauvais sujet, was deeply in debt, and had a bad char-
acter, and the rector wished to give him a chance of re-
covering his character before leaving school. In order to
settle the matter, the Council finally ordained that as it was
Krause's last term he was to remain prefect to the end of it.
Bitter says that the fault lay as usual on both sides :
but with this we cannot agree. Bach was a man nearly
twice as old and experienced as the rector; and he
was undoubtedly within his rights in insisting on choos-
ing those responsible for carrying out the music. On
this occasion Ernesti said he was " too proud to conduct
a simple chorale."

Chapter VII

Bach obtains a title from the Saxon Court — Plays the organ at Dresden
— Attacked by Scheibe — Mizler founds a musical society — Further
disputes — Bach's successor chosen during his life-time — Visit to
Frederick the Great — Bach's sight fails — Final illness and death —
Notice in the Leipsic Chronicle — The Council — Fate of the widow
and daughter.

At the end of 1736 Bach went to Dresden where he
was given the title of composer to the Saxon Court.
He had applied for a title three years before, in the
hope that it would place him in a better position with
regard to the Council and Consistory ; but it was in
vain that he hoped for this. Neither his works nor his
titles were able to impress them.

We learn from a Dresden newspaper of that date
that he played from two to four in the afternoon of
December ist on the new organ in the church of St
Paul, in the presence of the Russian Ambassador, von
Kayserling, and many artists and other persons who heard
him with very great admiration. In the same year, 1736,
was published a book of hymns with their melodies by
Schemelli, as a second volume to the book of Frey-
lingshausen, to which Bach had in his early dajrs con-
tributed some of the music. On the 14th of May, 1737,
there appeared a severe criticism of the way in which
Bach wrote out all his manieren or grace notes, instead

Disputes

of leaving them for the performer to add at his discretion.
The music thereby loses all its charm of har- . .,
mony, says the critic, and the melody becomes r 'f '
incomprehensible. He wonders that a man
should give himself so much trouble to act against reason.
The writer was J. A. Scheibe, a young man who had failed
in a competition for an organistship in which Bach was one
of the examiners. The attack was answered by Birnb^um, a
friend of Bach's, in an interesting critical analysis of Bach's
works. This was answered by Scheibe, and the dispute went
on for some time, other writers joining in it, until, as Bitter
remarks, " all their powder was exhausted." Bach, however,
worked away without troubling himself about the matter.

In 1738 Mizler,^ a pupil of Bach's, founded a society
for raising the status of music. Though it was successful,
the great musician was not induced to join it until 1747,
nine years later, when he handed into the society a triple
canon in six voices on the chorale " Von Himmel hoch,
da komm' ich her " as an " exercise." It is to Mizler's
society that we owe the preservation of the portrait by
Hausmann, now in the Thomas-schule, which is reproduced
in this work : and still further have we to thank it for the
account of his life, on which all later biographies are based.

Spitta gives accounts of further disputes. On one
occasion a prefect having punished some small boys at
Bach's special order, the rector ordered him to be pub-
licly flogged, whereupon the prefect immediately left the
school rather than suffer such indignity. A boy happening
to pitch a hymn at St Nicholas too low for the congregation
to sing, Bach was summoned before the Council and told to
see that it did not happen again. The rector threatened to
* See Glossary.

Bach

confiscate the boys' money if they obeyed the cantor
and accused Bach of being accessible to bribery. In
the Leipsic Chronicle for 1749 we read that on June 8th

. f, Gottlob Harrer was chosen as the future can-

^. tor of St Thomas, " when Capellmeister and

Cantor Herr Sebastian Bach should die." The
text of the cantata performed before the Council on this
occasion was " The rich man died and was buried." The
Council seemed indeed anxious to get rid of the great man
who had done more than all others to make their city famous.
There is little more to relate. Bach from time to time
made his journeys to various towns, and paid visits to
Erfurt, where his cousin, Joh. Christoph, and Adlung
were settled. As he advanced in years he gave up these
journeys. The last he made was to the Court of Frederick
„. . the Great at Potsdam in 1747. His son

„ , . , Emanuel had been capellmeister to Frederick

JiT'SuGftCfi

th r t s'"^^ 1 740 j and the king had frequently, and
always with more insistence, thrown out hints
that he would like to hear the great artist. Bach being
much occupied, and disinclined for travelling, did not ac-
cede to the king's wishes until they amounted to a positive
command. Then,taking Friedemann with him, he started for
Potsdam, which he reached early in May. The story of the
meeting with Frederick is variously told. We will tell it in
Friedemann's own words : " When Frederick II. had just
prepared his flute, in the presence of the whole orchestra,
for the evening's concert, the list of strangers who had
arrived was brought him. Holding his flute in his hand
he glanced through the list. Then he turned round with
excitement to the assembled musicians, and, laying down
his flute, said, ' Gentlemen, old Bach is come.' Bach,

'Only One Bach'

who was at his son's house, was immediately invited to
the castle. He had not even time allowed him to take
ofif his travelling clothes and put on his black Court-dress.
He appeared, with many apologies for the state of his dress,
before the great prince, who received him with marked atten-
tion, and threw a deprecating look towards the Court gentle-
men, who were laughing at the discomposure and numerous
compliments of the old man. The flute concerto was given
up for this evening ; and the king led his famous visitor into
all the rooms of the castle, and begged him to try the
Silbermann pianos, which he (the king) thought very highly
of, and of which he possessed seven.^ The musicians
accompanied the king and Bach from one room to
another ; and after the latter had tried all the pianos, he
begged the king to give him a fugue subject, that he
could at once extemporise upon. Frederick thereupon
wrote out the subject (afterwards used in the musical
oifering), and Bach developed this in the most learned
and interesting manner, to the great astonishment of the
king, who, on his side, asked to hear a fugue in six parts.
But, since every subject is not adapted for so full a
working out. Bach chose one for himself, and astounded
those present by his performance. The king, who was
not easily astonished, was completely taken by surprise at
the unapproachable mastery of the old cantor. Several
times he cried ' There is only one Bach.' On the foUow-

' These pianos were made in the years 1746-7 after the inven-
tion of Cristofori of Florence, who was the first to use the hammer
action. This action, however, did not suit Bach's touch, and though
he praised the tone, he does not appear to have become possessed of
one. The writer was shown one of the above-mentioned Silbermann
pianos in the Palace of Sansouci at Potsdam in 1884.

Bach

ing day he played on all the organs in the churches of
Potsdam, and again in the evening on the Silbermann
pianos. From here he paid a visit to Berlin, where he
was shown the opera house." ^

A newspaper account of the visit to Frederick
varies in several details from the above ; but as the
account of the son, who was with Bach, and perhaps
an eye-witness, is the more trustworthy, we have not
thought it necessary to trouble our reader with the
second account. ^

In the following year the enormous strain he had all his
life put upon himself began to take its effect. Although of
J . ,,. unusual strength, the work had worn out his
body. First his eyes, which had been used
day and night from the time he copied his brother's book
by moonhght, began to give way. The weakness gradually
increased, and pains began to trouble him, yet he could
not believe that he was near his end. Friends persuaded
him to undergo an operation at the hands of an eminent
English oculist, who was then in Leipsic. But the result
of two operations was that he lost his sight altogether, and
his health was so broken down by them that he never again
left his house, while he was in constant pain till his death.

But he continued to work, even through his hours of
greatest suffering. He set the chorale " When we are
in the greatest need " in four parts, dictating them to
Altnikol, his son-in-law. An extraordinary thing happened
ten days before his death; one morning, he was able
to see well and to bear daylight ; but a few hours after an

' See page 79.

" It can be found in Bitter, vol. ii. p. 317, Spitta, vol. iii. p. 231,
and elsewhere.

St John's Cliurch, Lcipsic

Death

apoplectic stroke, followed by a violent fever, completely
overcame him. The attentions of the two best doctors
in Leipsic could not avail against the illness, and at a
quarter past eight o'clock in the evening of July 28, 1750,
he breathed his last.

He was buried in St John's churchyard, and, like that
of Mozart, his grave was forgotten and lost. The church-
yard was altered early in the nineteenth century, to allow
of a new road being made, and his bones with those of
many others were removed. Some remains lately dis-
covered on the south side of the church are supposed
with good reason to be those of Bach; but nothing is
known for certain.

On his deathbed he had dictated to Altnikol the
chorale "Vor deinen Thron tret ich hiemit." The
Leipsic Chronicle notices his death as follows : "July 28,
at eight in the evening the famous and learned musician
Herr Joh. Sebastian Each, composer to His Majesty the
King of Poland and Elector of Saxony; Capellmeister to the
Courts of Cothen and Weissenfels, Director and Cantor
of the school of St Thomas, died." Here follows a
sketch of his life. " The Bach family came from Hungary,
and all, as far as is known, have been musicians, from
which perhaps arises the fact that even the letters b, a, c, h,
form a melodic succession of notes." "■

That is all ; not one word of regret. Nor do we find
that much notice anywhere was taken of the death of the
great man. A meetmg of the Council took place shortly
afterwards in which, while no expressions of sympathy
were heard, the remark was made, "Herr Bach was a
great musician no doubt, but we want a schoolmaster,
' h being the Gemnan term for BJ^.
89

Bach

not a capellmeister " ; and they proceeded at once to
arrange for the instalment of Harrer.

The sons of the first marriage took possession of all
music that was of value, and sold the rest of the property.
Gorner, Bach's former rival, undertook the duties of
Ft fth g*^^""^^^" t° ^'s younger children, and seems
jrr-j J to have fulfilled the task with propriety and

Widow and t. l, -j if j u

rh'Jd reverence. Bachs widow was allowed her

husband's salary for six months, after which,
receiving no help from her stepsons, she supported her
younger children as well as she could, and becoming
gradually poorer, died in an almshouse and was buried
in a pauper's grave. The youngest daughter, Regina, lived
till 1809, and was supported by charity in her old age.

The family of Joh. Sebastian Bach gradually died out,
and is now extinct, the last representative, a farmer of
Eisenach, having died in 1846.

Bach's music fell more and more into oblivion, and for
a time his name seems to have been forgotten. In 1883
a room in the Thomas-schule was used as the English
Church, and on the first floor a smaller room was used
as the vestry. In the latter was a cupboard in which the
communion plate and surplices were kept. The writer
was told that this cupboard had formerly been full of
music MSS., and that during the years of oblivion, when-
ever a Thomas-schule boy wanted a piece of paper to
wrap up his " Butterbrod " he was allowed to tear out a
sheet of paper from one of Bach's manuscripts.^

Thus after his death were treated the family and works
of the man " to whom music owes as much as religion
does to its founder."

' This story may or may not be true — we give it for what it is worth,
90

Chapter VIII

The Cantatas and the Chorale

The prevailing characteristics in Bach's compositions are

intense earnestness of purpose, and, in his church music,

a deep religious feeling, too deep for the ^,

ordinary everyday person to appreciate ; an ... ,

absolute absence of anything extraneous, such „ ,r

^ • J _f i. Bach's

as concessions to smgers and performers, or to j^ .

the fashion of the day. When Bach writes
florid or highly ornamental passages, they are not intended
merely to exhibit the skill of the performer — their most
important purpose is the exact expression of the words or
emotions in hand. In this he and Beethoven were at
one. Their difficulties of execution arise from the ne-
cessities of artistic expression, and such difficulties will be
found in all the truest and best art, the art that lives
beyond the fashion of the hour.

Bach, like Beethoven, suffered from the influx of a
superficial kind of music which so easily captivates an
unthinking public.

The proximity of the Dresden Court, with its Italian
Opera Company and the opening of an opera-house in
Leipsic itself, had much the same effect in attracting the

Bach

Leipsic public away from the solidity and severity of the
cantor (whom, all the same, they never ceased to respect)
as the Rossini fever had in the beginning of the nine-
teenth century at Vienna with regard to Beethoven's
music. Bach, however, was in a worse position than
Beethoven, for he lived and worked in a small circle of
German towns, and only in the domain of church music.
Teutonic to the backbone, he expressed his thoughts in
his own way without swerving to the right or left. He
never had occasion to try and please any but a North
German public, and he mostly endeavoured only to
please himself, and promote the " glory of God " in his
own way, by adhering strictly to what his genius told
him was right ; and posterity has endorsed his views.

Beethoven, on the other hand, lived at a time when
communications between countries were beginning to be
more rapid and frequent. The French Revolution, and
the constant wars brought about by the ambition of
Napoleon, though temporarily hostile to the actual
practice of art, had the effect of making whatever art
was produced more cosmopolitan, and therefore more
easily appreciated outside the artist's country. Thus
Beethoven's music soon became known in England :
and at the very time when the Rossini fever was causing
him to be forgotten in Vienna (the town of his adop-
tion) the English Philharmonic Society was negotiating
with the great composer for the composition of a
symphony, and these negotiations, as is well known,
resulted in the production of the greatest symphony the
world has yet seen.

It is customary to compare the two musical giants of
the &st half of the eighteenth century, Handel and Bach.

Compared with Handel

Both were born in the same year, 1685, Handel being the
senior by one month only : both were natives of small
German towns, within a few miles of each 77 i v
other. Both received their earliest musical ft ^ i

education in Germany, but with the difference
that Bach, coming of a family of professional musicians,
there was never any thought of bringing him up to any
other profession, while Handel's father, a surgeon, had all
the prejudices of his time and profession against music,
and did his best to stifle his son's proclivities, till they
became too strong for him to longer withstand.

After early childhood the ways of the composers were
widely different. While Bach was painfully acquiring
the technique of his art, by making long journeys
on foot to hear and get instruction from eminent
German organists, by practising assiduously day and
night, and by copying all the best music he could lay
hands on, Handel was playing the violin and harp-
sichord in the German opera conducted by Keiser at
Hamburg.

At the age of twenty-one Handel went to Italy and
remained there three years studying, and successfully com-
posing operas for the Italians, who called him " II caro
Sassone," — "the dear Saxon." At twenty-one Bach was
organist of a small and unimportant German town,
still working hard to improve his technical powers in
every direction. Everyone knows that Handel made
his first reputation as a composer of Italian operas
which are completely forgotten, and not till he was fifty-
five years old did he begin that series of oratorios or
sacred dramas by which he is immortalised. Bach, on
the other hand, making the organ and the chorale his

Bach

starting-point, continued all his life to compose sacred
music — " church music " as it was called, and never wrote
for the theatre. Handel, domiciled in England, knew his
public and knew them so well that he wrote works which
not only became popular at once, but have never ceased
to be popular. Bach either did not know, or did not
care to please his public, and wrote far above their
heads, so that for a time after his death he was for-
gotten entirely: only when Mozart, and afterwards
Mendelssohn, became acquainted with the wonders of
his genius did the public, almost against their will, begin
to appreciate what a giant had been on the earth in
those days.^

Bach's place in Lutheran Church history is very
important. He is connected directly with the Refor-
mation through the chorale, which Luther so much
encouraged as a means of spreading the new views of
religion. Bach was a strict Lutheran ; and the chorale,
or hymn to be sung by the congregation, was perhaps the
most important expression of Lutheran religious feeling.
The words will explain this perhaps better than anything
else, if we take an example at random from the Leipziger
_. - . Gesangbuch, in literal prose translation — e.g.
Junjeste No. 171 : "A strong castle is our God; a
^ good defence and weapon ; he freely helps

us in all trouble that can meet us. The ancient wicked
enemy is in earnest ; his cruel armour is great power and
much deceit : there is none like him on the earth.

"We can do nothing of our own power, we are

^ Burney devotes nearly a whole volume to Handel, and only one
paragraph to Bach.

A Notable Chorale

soon lost : but there fights for us the right man,
whom God himself has chosen. Dost thou ask
his name? Jesus Christ is his name, the Lord of
Sabaoth. There is no other God; he is bound to win
the day.

"And if the world were full of devils, who would
devour us, we need not fear much, for we shall con-
quer. The prince of this world, however sour he may
appear, can do nothing against us: a word is able to
slay him," &c.

This is one of the chorales assigned to the Festival
of the Reformation, and one can imagine with what force
it would appeal to those disposed towards Luther's
teaching. Its well-known melody was composed by
Luther, and it was used by Bach as the foundation
of a cantata which is considered by Zelter to have
been composed in celebration of the 200th anniver-
sary of the Reformation in 171 7, but the composer
re-arranged it in 1730. The orchestra contains
three trumpets, one flute, two oboes, one oboe di
caccia, two violins, viola violoncello, organ and figured
bass.

The first chorus set to the words of the first verse has
the following vigorous opening, the orchestra playing
an independent accompaniment. (For convenience of
English readers we quote from Novello's octavo
edition.)

Tenor (Spe lower) ^_^ ^_^

strong ..-..- hold sure our God re-

Bach

AUt

mains, A shield and hope un - fail

Sop. A strong

&c.

22=

r=r

shield -

^^m

This is worked in bold fugato (both chorus and orchestra
taking the subject or the counter-subject), for thirty-six
bars, which are then repeated, note for note, to the words :
" In need His help our freedom gains, o'er all we fear pre-
vailing."

A short quotation may serve to give some idea of the
fulness of the writing and the boldness of the counter-
point, of which the effect, when sung with proper energy,
is overwhelming.

' The original tune would be, with the above words —

-H r-i 1 '-

J r i ° — d:

y-g G &

A strong - hold sure our God

A Massive Chorus

In need his help

Alio

Tenor
Bass

Aceompt. .

.a.

our freedom gains

I !

T-^

pi I

^^^^

pE-

^=i

Sj^

!^z^= ^

j pr-g SJ

^^S

> . > . &c.

Bach

The words "our old malignant foe" follow, with the
new fugue subject

old

Orch.\ I I I I

malig nant foe.

^^^^~

w I

Orch\

occupying twenty-four bars.
Then

Alio

&C.

^ — | ^~F ^

=5=

&c.

Would fain work us woe would fain

treated fugato for twenty bars ; and each line is worked
in the same way.

The whole chorus is 221 bars in length, and is a
masterpiece of massive choral and orchestral writing, in
keeping with the sentiment of the words. It opens with
three trumpets, drums, violoncello, and organ manual, the
pedal being silent for the first twenty-three bars. At the
twenty-fourth bar (the first quoted on page 97) the pedal
enters with the 1 6 feet Posaune, and makes a bold canon of
eight bars, with the melody played in the highest register
of the trumpet. The canon concludes with a drum passage
on the dominant ; and fresh canons between trumpet and
pedal occur at bars 49, 88, 122, 147, 178 and 200.

These seven canons are all formed on the musical phrases
of the tune : and one might almost look upon the chorus
as a gigantic " choral-vorspiel " with long vocal and instru-
mental interludes between the phrases given out by the
trumpets and pedal.

A Florid Duet

The second verse is set as a duet for treble and bass,
still in the key of D. After a ritornello, the bass enters
with the words " all men born of God our Father, at the
last wijl Jesus gather," set to exceedingly florid passages,
above which floats the melody in the treble voice.

Tnbli Solo

Bass SoU

Our ut - roost

^^^m

Ir^^^

t^=^^m

mmi

^r^

=s=^

m^^^^^

might ...... is all in

Bach

A bass recitative, commenting on the preceding senti-
ments follows, and then a treble aria, " Within my heart
of hearts. Lord Jesus, make thy dwelling." In the fifth
number the whole chorus sings the melody in unison, now
changed to | time, and with a very florid accompaniment.

^^^^M-

^EES:

-0-. — f,--

Tenor i i i "f" "f r I ^ f ' "P" '

^'"^ If all the world with fiends were filled.

This is followed by a tenor recitative, "Then dose
beside Thy Saviour's blood-besprinkled banner, my soul
remain,'' &c., a duet for alto and tenor, "How blessed
then are they, who still on God are calling ; " and the
cantata concludes with the chorale simply harmonised in
four parts, " That word shall still in strength abide," in
the form familiar to English congregations.

We have given a fairly full description of this fine

cantata in order to show our readers what is meant when

it is said that Bach based his church music essentially on

chorale. Most of the cantatas are constructed in the

same kind of way, i.e. a chorale is used as the chief

„ ... , subject. But that Bach did not merely

, J. work on a fixed model is shown by the fact

that no two of the one hundred and nmety

cantatas published by the Bachgesellschaft are alike.

Nothing astonishes us more than the enormous fertility

of invention shown in these wonderful works, the

variety of detail, and yet the unity of purpose. The one

idea of the composer was the religious effect to be

obtained by the highest efforts of art devoted to the

Choral- Vorspiele

service of God. Except in Germany, they are rarely
heard in their proper place as part of the church service :
but the mere reading through of the scores produces a
most profound eflfect, and creates a perpetual astonishment
in the reader at the enormous resources of the composer.

Bach is generally considered as the greatest composer
for the organ, but his organ works, wonderful as they
are, seem small in comparison with these marvellous
cantatas, all difiFerent and yet all connected, as it were,
by an underlying unity of purpose.

Bach took the melody of " Ein feste Burg " for one of
his finest choral-vorspiele (Peters, 245, No. 22). This
is a particularly interesting composition, since —, ^, .
it is the only chorale in which we obtain any . .

clue to Bach's methods of registering. In -^

Walther's MS. are given a few indications " a 3 clav.'' for
three manuals. The left hand is to begin with the fagott,
sixteen feet, and the right hand on the choir with the
" sesquialtera." The piece was doubtless intended for the
organ at Muhlhausen which was renovated and enlarged
under Bach's directions, and which had three manuals, con-
taining on one a sixteen feet " fagott," and on another a
combination producing a " good sesquialtera tone." It is
one ofthe larger choral-vorspiele, containing fifty-eight bars.

It is worth while noticing how Bach, in this, and all
other choral-vorspiele, does not adhere literally to the notes
of the melody, but introduces ornamental passages, or
lengthens and shortens notes to serve his purpose, or in-
troduces the subject in augmentation and diminution.
This was the regular custom amongst German organists.
The choral-vorspiel is, in its simplest form, merely in-
tended to prepare the congregation for the melody that is

101

Bach

to be sung, but instead of a mere bald playing through
of the tune, as is usual in English churches, the organist
was expected to use his art in elaborating it.

Bach, in his younger days, was accused of over- elaborat-
ing, not only the vorspiele, but the accompaniment. It
was a fault of youth, and hardly called for the official
censure that the- Council at Arnstadt thought fit toad-
minister. He was practically his own teacher. If he
had been under the guidance of an older and more ex-
perienced organist, he would undoubtedly have curbed
his zeal for " surprising variations."

At that time he seems to have lost sight of the fact that he
was expected to accompany the congregation. He forgot
all about them, and gave free rein to his imagination so
that the " congregation were confounded." And well they
might be, by the following example of his accompaniment.

"Wer nur den lieben Gott lasst walten."

Ftom the Leipzigcr Gesangbuch, As sung.

=?=:

he - ben Gott

nur den lie — - bei

lasst wal - ten

^^^B

■^.

p^rr

P S>- -e-
II II J

und boff et auf ihn al

=J:_J

-f^^m^^

X02

Surprising Variations '

Bach's Method of Accompanying when at Arnstadt.

Peters 344, Variante eu No, 52.

Wer nur den lie - ben

I — i-i

Gott ISsst walten

^^^.

;

r T

«SEEt

Interlude.

^^^^^^^M

(cK ^ jf g :^

-^-^

57-^-3-t^

faoff - et auf ihn

le - zeit

^^^i^^

&c.

tj r" crrr^

He was in reality not suited to be a mere accompanist —
his genius was too great to be tied down to the formal
notes sung by the congregation, and a far lesser man
would have suited this kind of work better. His choral-
vorspiele are masterpieces of organ work ; his extemporised

103

Bach

or written accompaniments are artistic, but quite im-
practicable.

But when he harmonises a chorale in vocal parts for
his choir to sing with the congregation, his genius shines
forth in the most exquisite harmonic combinations pos-
sible. Examples abound, and a volume might be written
on this subject alone. We can only indicate here a few
instances of various treatments of the chorale.

Every one knows the opening double chorus in the
Matthew Passion. After an instrumental introduction full
of dignitj and solemnity, built chiefly on tonic and domi-
nant pedals (E minor), the first chorus sings, " Come ye
daughters, weep with me, behold the Lamb as a bride-
groom." The second chorus exclaims, "Whom? How?"
while the first continues its course, and a "Soprano
ripieno "chorus enters with the chorale —

■otjrJr-

&c.

O thou be - got - ten son of

God.

iE:3-

Who on the cross wast slain.

The work is now performed every Good Friday in the
Thomas Church at Leipsic. The organ gallery occupies
the whole of the west end of the nave and two side aisles.
On each side are placed the singers, the soprano and
alto parts being sung by women. This chorale is sung
by the boys of the Thomas Schule, some forty in
number, and the effect of the contrast of tone bringing
it in is overwhelming. Poor Bach, with his miserable
little rabble of a choir with three voices to a part, can

104

Uses of the Chorale

hardly have realised how his music would sound many
years after his death, when performed by a large body
of enthusiastic and intelligent musicians.
The next chorale in the work is

■ T^

^^^^^

&c.

O Holy Je • su how hast thou of fend • ed|

harmonised for four voices, and accompanied by violins,
flutes, oboes, violas and basses, in unison with the respective
voices and figured bass organ part. This accompaniment
is used for all the succeeding chorales, and we may remark
that the melody is given to the two flutes and two oboes
as well as the first violins, that it may be made prominent.
All the other chorales in this work, six in number,
are thus arranged and accompanied. The well-known
Phrygian melody

Herz • lich - thut mir ver - Ian - > gen.

occurs no less than five times, sometimes harmonised in
the Ionian, sometimes in the Phrygian mode, and he has
arranged it in the latter mode as a very beautiful vorspiel
for the organ (Peters 244, No. 27).

We may here remark that in playing the organ choral-
vorspiele no notice is to be taken of the fermata, which
are only used when the melodies are sung.^

Besides the choral-vorspiele, and the introduction of

the melody in conjunction with a chorus, and the har-

monisation in four parts, with orchestra doubling the voice

parts, Bach makes many other uses of the chorale. In

' See Griepenkerl's Introduction to Peters, vol. 244,

105

Bach

the Christmas Oratorio, for example, he combines it with
recitative, the melody being freely accompanied by the
orchestra, and interspersed with recitative passages of the
nature of interludes between the lines. Or he harmonises
it in four parts, with free orchestral interludes.

The above quoted melody appears in the Christmas
Oratorio with brilliant orchestral accompaniment and in-
terludes, three trumpets, drums and two oboes being used
besides the strings and organ.

Erk has collected 319 chorales in two volumes (Peters),
extracted from the church cantatas, &c., and has given
full particulars of the sources. Sometimes they are
worked up as fugues. Thus, the tune composed by Kugel-
mann about 1540, and generally known in England as the
" Old Hundredth," appears in the cantata " Gottlob ! nun
geht das Jahr zu Ende " in the following form, the voice
parts being doubled by strings, cornet, two oboes, three
trombones and organ.

Nun lob mein Seel.

f-f 1

A ~

tl\\

• .

VU _

1 A

• r p •

Nun lob mein

Seel.

^'i\'

s . rj

((•}.

r m P

1 P

V c-

' F r r

1 '

. ,

[ — r r 1

U 1—

Nun lob mein Seel.
Nun

lob

"^^^z

±jiZ

I J I J V

106

Orchestration

The choral-vorspiele published in the Peters' edition
number about 143 — ^besides several sets of partitas or
variations on chorales, and many " Varianten," or different
workings of the same vorspiel.

Although this eminently national German and Lutheran
form of religious art sank deeply into Bach's soul, and
more or less influenced and coloured all his compositions
for the Church, he was accused at Leipsic of being too
proud to demean himself to conducting or accompanying
a mere chorale !

What he did was to allow his genius full play on a
form which intensely interested him, and to exhibit it in
new and original aspects.

The orchestration of the cantatas is of great interest.
It is generally known that Bach did not usually employ
the orchestral instruments in the modern n t, i-r
manner,^ but made each play an independent .

counterpoint. Thus there were as many con-
trapuntal parts as there were voices and instruments com-
bined ; and a cantata was described as being, for example,
" in nine parts, for one oboe, two violins, one viola, one
violoncello, soprano, alto, tenor, and bass voices with organ
continuo," or as a " concerto for four voices, two oboes,
viola and continuo." Sometimes, as in " Erforsche mich
Gott," there is a violin obbligato above the voice parts
in the final four-part chorale. In other cantatas it is
noted that the "cantus firmus (the chorale-melody) is
in the soprano," or other voice. In the opening chorus
of " Herr Gott dich loben wir," the cantus firmus
is in the soprano, the other voices sing throughout,
making the interludes which are usually allotted to the
instruments.

107

Bach

Bach was fond of dividing his violas. Thus, part of
"Gleichwie der Reigen und Schnee" is scored for four
voices, two flutes, two violins, four violas, fagotto, violon-
cello and continue.

Or parts are written for a viola and a taille (the tenor
viol). In "O Ewigkeit, du Donnerwort," the scoring is
for three oboes, two violins, viola and continuo, with a
tromba da tirarsi (slide trumpet) in unison with the
soprano throughout. The cantata "Ich hatte viel Be-
kummerniss," known in England as " My spirit was in
heaviness," was composed and performed at Weimar on
the third Sunday after Trinity, 17 14, on his being made
Concertmeister there. It is labelled "Per ogni tempi,"
"suitable for any season." It has one oboe and one
fagotto, besides the usual strings.

"Es ist nichts gesundes" is scored for three flutes,
cornet, three trombones, two oboes, the usual strings and
four voices. Here the cantus firmus is given out by the
organ in the bass with figures,

t i b*2 6 6 61,65 _|

and there is no further reference to it until long after the
chorus have entered, and have been singing contrapuntal
passages, when, without any warning as it were, the three
flutes, cornet, and three trombones, which have hitherto
been silent, bring in the chorale in four parts, the voices
and strings continuing their contrapuntal course. The
effect is so peculiarly Bach-like that we cannot refrain
from quoting a few bars.

108

A Mannerism

From the Cantata "Es ist nights Gesundes an

MEINEM LEIBE." No. 25.
Bars J4J0 17. 14 IS

3 fiuus :

Comei

3 Trom-
bones

lit Viol.

zndViol.

Viola

Sop.

Tenor

Bass

(Voices

continuo

and

Strings).

-^F#

!E?3=^H^3i

P=^^'

■^=»-

^s^^

^^^ES

i-i

-•— F~

ist nichts Gesundes au

Es ist nich(s Gesundes an mei - nem

W-

^^^p^^^

S^^^^^^^=Egp

109

Bach

3 Flutes
Cornet

3 Tram
bones

1st Viol.

7HdViol

Viola

Sop.

Alto

nk^4.

^^^fci^^^

-m-4

]-^

-^-^

-q— •— j-^— ^

^^33^3

J^^-.^a:j^^^.V=J^

mei - - nem I.ei - be an meinem Lei

Lei - - - be

^^m=i-ts ^ Sf ^ f^

Bass

( Voices

continuo

and

StHngs). 6778

Pirpr

■p n P_

78 6

45 4

23 3

Technical Skill

The above quotation is only a specimen of what is
found throughout a long chorus, all the sections of the
chorale being introduced in turn, with a never-ceasing flow
of counterpoint in the voice parts, accompanied in the
same way by strings.

If we examine the voice parts we shall find that they
practically amount to a double canon, the tenor imitating
the bass, the treble imitating the alto. But the canon is
not carried out with an iron-bound rule which would crush
all beauty out of the music ; on the contrary, the imita-
tions are quite free and unconstrained. Each voice must
have its melody, even if collisions occur now and then,
such as between alto and tenor bar 1 5, last quaver : alto
and bass just previously to this : the consecutive sevenths
in the treble and alto bar 1 6, third and fourth quavers, or
the entry of the tenor on F|j bar 17, against the F| in the
bass. This rough and healthy vigour is thoroughly charac-
teristic ; the parts must express themselves by their melody;
if they happen occasionally to collide, this is of much less
importance than that their vigorous melody should be
sacrificed in order to sweeten the harmony.

The string accompaniment must also take its part.
The instruments are all treated as individuals, not merely
as filling up harmonies. Therefore they do not reiterate
one note in each chord, but move about. The wind in-
struments play in four part harmony which is complete
in itself. It might perhaps appear that this is merely a
display of learning and contrapuntal skill, but a close
examination of Bach's most elaborate works will reveal
the fact that the greater the contrapuntal task he sets
himself, the more expressive is the music. Such choruses
exhibit the highest possible technical skill, but all this is

Bach

as nothing compared to the wonderfully artistic effect
that the composition as a whole produces.

In some cases Bach writes an organ obbligato part in
addition to the "continuo," or figured bass. Thus the
opening symphony of " Wir danken dir, Gott, wir danken
dir," composed for the election of the Town Council at
Leipsic in 1737, consists of the "Prelude" of the violin
solo suite No. 6 transposed to D,

on the obbligato organ, with accompaniments for three
trumpets, drums, two oboes, strings and continuo (to be
played on another organ ^).

Bach seems to have tried every kind of experiment with
his orchestra. For instance in "Freue dich erloste
Schaar " an aria is accompanied by a flute, a muted violin,
the rest of the strings pizzicato, and the organ part to be
played staccato. One peculiarity, however, of his orches-
tration is that the combination of instruments he chooses
for a particular movement remains the same throughout.
Rests occur in the parts, but there is no variety of treat-
ment within the movement. Thus in the above-mentioned
aria the lower strings having begun pizzicato play pizzicato

' According to Gesner the keyboard of the Rilck-positiv (back choir)
of the St Thomas' organ stood apart from the chief organ, and was
used by Bach to conduct from (see the frontispiece of Walther's
Lexicon, 1732). If there was an organ obbligato part, it would be
played on this manual, while another person played the continuo on
the chief organ.

112

Cantatas

throughout, the first violins remain muted throughout, and
the organ plays staccato throughout. Again, in the open-
ing chorus of " Es ist nichts gesundes," referred to above,
the wind never plays anything but the chorale in four
parts. Of variety there is plenty, but it is not produced
by modern methods.

Bach was just as careful in the choice of instruments
for his particular effects as in the choice of stops in organ
playing. Many of the instruments he used are now
obsolete, and their intonation must have been very faulty.
Yet if they had the particular tone colour he considered
fitting he would not hesitate to employ them, to the ex-
clusion of, or together with, the more manageable instru-
ments such as the violin, viola, oboe, &c. Amongst the
obsolete instruments he employed to accompany the voices
in his cantatas and Passion music were violoncello pic-
colo,^ viola da gamba,i taille,^ viola d'amore,^ cornet,^ oboe
d'amore,' oboe da caccia,i htuus,^ violetta,^ violino piccolo.^

Some of the cantatas are called solo cantatas ; they
consist of a series of movements usually founded on a
chorale, for one or more solo voices, and contain no
choruses, though occasionally a chorale is to be sung by
the congregation.

The cantatas are often called by Bach " Concertos."
Thus " Bereitet die Wege " for fourth Sunday in Advent
is entitled "Concerto k g, i oboe, 2 violini, i viola,
I violoncello, soprano, alto, tenor, bass, col basso per
organo di J. S. Bacli "

* See Glossary. » See p. 108.

' A minor third below the oboe, and of more pathetic tone.

113

Chapter IX

The Matthew Passion and B Minor Mass *

It was Luther's chief intention to make the congregation
J,, take more part in the service of the Church

^ ., than they had formerly done. The first thing

o, • therefore was to diminish or abolish the use

of Latin ; and the people were made to sing,
what they could understand and appreciate.

Luther translated a number of excellent old church
hymns, and made new tunes for them, being assisted in
this work by friends. The newly arranged hymns were to
take the place of the Graduals, Offertories, &c.

He also translated and reorganised the chief parts of
the Mass ; thus the Kyrie became " Gott Vater in
Ewigkeit," the Gloria, " AUein Gott in der Hoh sei Ehr,"
the Creed, "Wir glauben all an einem Gott," and the
Agnus Dei, " Christe du Lamm Gottes."

The Preface, the Benedictus, and Hosanna were left in
Latin.

Besides the chorales, he instituted the motet for the
choir; which was accompanied ordinarily by the organ,
but on high festivals by cornets and trombones. The style
of the motets was that of Palestrina and Orlando Lasso,
and the texts were chosen from the Bible, especially the
Psalms. On days of humiliation, a long Litany and several

' A considerable portion of this chapter is from an article by A. F .
Rochlitz in the Allg. Musik Zeitung, 1831.

114

The German Mass

Latin hymns were sung instead of the Gloria. In Holy
Week and on Palm Sunday and Good Friday, instead of the
Epistle, the Story of the Passion was sung antiphonally
from one of the gospels by two priests before the altar.

But several inconveniences gradually arose. In spite of
Luther's urgent order, " A priest must be able to sing," there
were, in course of time, only a few who could, and those sang
badly — most priests could not even keep to a single note.

Let us imagine an unbroken monotone or monotonous
chant badly intoned, of the length of perhaps over one
hundred verses ; and the service, being lengthened by the
addition of hymns, &c., occupied sometimes from four to
five hours, all in one wearisome unison, and entirely de-
prived of the variations which gave life to the Catholic
service. Moreover if anyone came late or left early he
was severely reprimanded.

Luther said, "We arrange the German Mass as well
as we can ; our successors will improve it." But for a
hundred years after his death men held most conscientiously
to the letter of his sayings, and when alterations were
made, they were done so sparingly that they were of little
effect. The Latin songs were almost all assigned to other
services, e.g. the "Rex Christe " was assigned to the vespers,
the " Crux fidelis " to Thursday in Holy Week, and the
singing of the Passion before the altar was changed to a
mere reading from the pulpit.

But when read, only a very small portion of the con-
gregation either heard or understood it in a large and well-
filled church ; and soon there arose disorders, especially
when the old Protestant strictness of discipline began to
decline, and the Thirty Years' War had produced much
roughness in manners. A way out of the difficulty was

Bach

found, which must be mentioned, though it only lasted a
few years. It was certainly conceived in accordance with
Luther's principles, but it was soon found to be entirely
impracticable. The congregation were themselves to sing
the Passion story. For this purpose a song was com-
posed by Paul Stockmann (" Jesu Leiden, Pein und Tod ")
containing all the chief points in the story. Not only did
the composition prove entirely unsatisfactory in itself, but
can one imagine four and thirty strophes of eight lines
each being sung straight away to one of the dullest and
most monotonous melodies that was ever composed !

During this period, however, Figural music had, outside
the Church, been gradually developing in a freer and more
easily appreciated manner, and was therefore becoming
widely cultivated.

It found favour with the people, since there was no law

against its use, so that it began to enter the Church, not

, . in ordinary services, but on festivals. The re-

, , . , suit was most favourable. We find expressly

^. .•' stated the attention and the devout pleasure

^/^. with which the congregation listened to the

conjunction of song and strings. Gradually,

therefore, this music was received into favour, first on

festivals and afterwards on Sundays in the principal

churches, and that without any special care that the text

and expression had any regular connection with particular

parts of the Liturgy, much less with the special subject of

the sermon. The cantor and music director in fact did not

know beforehand what the subject was to be.

Everything else that had been used from former times
remained, except that after Frederick Augustus, Elector of
Saxony, entered the Roman Church in 1697, and organised

116

Passion Music Origin

such splendid services in his Court church as had never
been before heard in North Germany, more freedom was
allowed in the Lutheran churches.

The celebration of the Passion remained as before, and
we have only to add that during the Fast and Advent
weeks all instruments, including the organ, had to be
silent, even during the singing of the thirty-four strophes.

At last there came to the head of spiritual affairs at
Leipsic a man of decided character, highly esteemed as a
learned theologian, a very impressive preacher, tu q • ■
and respected for his strictness of teaching , „ '"^f
and life, Salomon Deyling, Doctor and Pro- ■' „
fessor of Theology, &c. (1677-1755). He '*Mudc

could no longer endure the state of things
in Passion Week, and, since in 1723 the great and famous
Sebastian Bach had become cantor of the Thomas School
and music director of the two chief churches at Leipsic,
he associated himself with him in order to see if his ideas
could be put in practice. The idea which he propounded
to Bach was this : " The early arrangement of the service
was the best, but was only suitable to its own date : we
must try and make our arrangement on the model of the
earliest, but in keeping with modern requirements.

" On each Palm Sunday and Good Friday the history
of the Passion of the Lord is made known antiphonally,
according to one or other of the Evangelists, exactly in
accordance with the sacred writer's words ! Who could
improve on this ? They must be sung, how else are they
to be understood by all? But they must be sung by
some one who can sing ! namely by you : and so that
everything may sound well and be impressive they must
be musically sung, and accompanied.

117

Bach

" Your best singer, who can pronounce clearly and well,
must sing the words of the Evangelist in recitative, and,
in order to produce more impression and life and variety,
the other persons of the story must be represented by
other singers, and the Jewish people by a chorus. At the
chief points in the story there will be pauses, during which,
by means of an aria, the congregation shall lay to heart
what they have heard ; and that all of us shall be refreshed
from time to time, there shall be well chosen verses from
all the known hymns, in which the congregation can join.
Now, your business is to carry all this out in a connected
and artistic manner. " And th us arose Bach's Passion music,
which completely fulfilled everything that was expected of it.
However few there were who could understand and honour
and enjoy them as art works, these services, and Bach's
method of treating them, were gladly received by the con-
gregation, and the performance of such oratorios became
every time a truly edifying and Christian artistic feast.

This account refers of course chiefly to Leipsic. It is
supposed that the decay of the performance of the Passion
was due to the pupils and sons of Bach, who tried to
improve on his and Deyling's arrangement by the intro-
duction of Italian and lighter methods, which, though
pleasing, were soon found to be unsuitable to the simple
words of the Bible and Hymn-book.

The custom of performing the Passion in an epic and
dramatic form during Holy Week is exceedingly ancient.
It exists still in the Catholic Church in an ancient tradi-
tional way, consisting of the relation of the gospel narra-
tive by one singer, the speeches of Jesus by another, while
a third represents the crowd called /ur&a. Music and the
dramatic element are little represented, and the performers

ii8

Passion Services

only make use of accent or intonations. In the Reformed
Church the performance of the Passion in German, and
in artistic style, did not take place earlier „ .

than the last half of the sixteenth century. „ •

Wmterfeld finds the earliest Passion music „

arranged for chorus after the Gospel of St
Matthew in Keuchenthal's Gesangbuch, Wittenberg, 1573.
A short instrumental piece precedes it and another closes
it, and for the rest, only the words of the turba are allotted
to chorus. A similar work is the Passion according to St
John, which is found in Selneccer's Gesangbuch, 1587, but
here there are hymns to be sung by the congregation.

The Passion according to St John, of Bartholomaus
Gese, 1588, begins with a five voice chorus, followed by
the gospel narration by a tenor in Plainsong, The words
of Christ are usually sung by four chorus voices, the words
of Peter and Pilate by three voices, those of the maid and
servant of the High Priest by two voices, the turba are in
five voices, and a five voice chorus concludes the work.

Heinrich Schiitz, 1585 — 1672, in whose "Resurrection
of the Lord " modern forms are found, has very sparingly
used similar forms in his Passions according to all four
Evangelists, but chiefly in the concluding choruses. The
Passions in Vopelius' Gesangbuch, 1682, show that the
early forms were still in use at that date.

The Passion of Capellmeister Johann Sebastiani, 1672,
at Konigsberg, shows an advance in form here and there ;
and here also for the first time do we find the artistic use
of hymn tunes, while in Schiitz only the final movements
of his Passions have any connection with the chorale. The
biblical narrative is no longer in plainsong, but recitative,
accompanied either by two violins or two violas and bass,

119

Bach

and this is the first example of instrumental accompani-
ment in a Passion music. The turba are in four voice
chorus, with a fifth part in high tenor for the Evangelist.
Two violins, four violas and bass always accompany him.
The hymns are directed only to have their melodies sung,
the remaining parts being played by the strings.

A remarkable appearance was that of the Passion oratorios
at Hamburg, in which Handel, Keiser and Mattheson in-
troduced the regular song forms, the recitative, aria, and
the duet of the opera, and in such a method as only could
be performed by very highly trained singers. At first the
words of Scripture in their original formed the basis.

In 1704, however, an entirely new departure was made
in " The bleeding and dying Jesus " of Reinhold Keiser,
with words by Hunold-Menantes. Here there was no
Evangelist, nor were words of the Scripture introduced,
but three cantatas or soliloquies, similar to dramatic
scenes, took an important place. They were called the
" Lamentation of Mary," the " Tears of Peter," and the
"Lovesong of the Daughter of Zion."

The novelty, which excited the fiercest criticism and
raised a great contest, did not take root, although through
its means a new way was opened up. For this attempt
led the Hamburg Councillor Brookes to write a musical
poem of a similar kind, in which the evangelist was
retained in order to fill the gaps between the scenes.

This composition, which was greatly admired, was set
to music by Keiser, and afterwards by Handel, Mattheson
and Telemann. The first performance of Keiser's setting
took place in Holy week in 1712, and it is of special
interest, since Bach took some of the words for the arias
in his St John Passion.

120

Passion Settings

In the Matthew Passion Bach follows that of Sebastiani
with the addition of new forms derived from the drama,
but enriched and ennobled by the mind of the Master.
Scripture words and hymns no longer satisfied his con-
temporaries or himself; and as long as the kernel of the
work was scriptural, according to use consecrated by time,
no objection could be made to the introduction of what
had already been accepted in other services in the Church.
Only the soliloquies, those theatrical scenes in which
biblical persons appear with words other than biblical, he
would not introduce, for it was too like the stage. Thus
in a form, which though new, was intimately connected
with the old, did the Passions of Bach appear, and the
congregation took part by singing the chorales. It is
not known for certain how many Passions Bach wrote ;
the number is said to be five.

Regarding the author and composer of the St Luk^s
Passion nothing is known for certain, for Bach gives
neither in his copy. The arguments for its being his
work are that it is in his writing, and is possibly a youthful
composition, and that he recopied it in later years so
that it should not be forgotten ; while the chief argument
against its genuineness is its insignificance. The Bach-
gesellschaft publish it with the above reservation.

It consists mostly of chorales in four parts with short
recitatives between them. There are few arias or choruses,
and a sermon is to be preached in the middle.^

The first performance of the Matthew Passion took

place on Good Friday, 1729. The words, where not

scriptural, are by Picander. All the resources of art aie

employed in this tremendous work. A double chorus,

' See Conrad E.F. " Echt oder unecht. zur Lucas Passion.''

121

Bach

a ripieno chorus of sopranos, a double orchestra and
double organ part ; a part for the Evangelist which calls
forth the very highest powers of the greatest singers ; all
the instruments known in Bach's time are at various
points brought into requisition. We have already alluded
(p. 104) to the effect of the opening chorus when sung
in the Thomas Church. The never-ceasing flow of quavers
in 1 2-8 time, the call to the contemplation of the Passion,
the questioning second chorus which finally unites with
the first, the solemn and dignified march of the orchestra,
have a devotional expression which has never been sur-
passed. Throughout the work the words of the Saviour
are accompanied by strings alone in four parts, with the
continuo (which was never omitted in those days). The
chorales, which are of frequent occurrence, are to be sung
in unison by the congregation, and harmonised by the
choir and instruments. The words of the turba or
Jewish people are always allotted to double choruses, which
throw the expressions backwards and forwards at each
other in a turbulent manner (see p. 123).

The disciples are also represented by a double chorus, as
are the Christian congregation; and the music of the various
double choruses is in keeping with sentiments which might
be supposed to actuate the singers. The arias which fill the
" pauses " suggested by Deyling are allotted to an alto, sop-
rano, tenor, or bass, and are accompanied, in addition to the
organ, by two flutes, or two oboi d'amore, or oboi da caccia,
or by a viola da gamba, or by a violin solo with string band.

After Bach's death this magnificent work was performed
at St Thomas Church till the end of the seventeenth cen-
tury, when it was laid aside until revived by Mendelssohn
in 1829, just one hundred years after its first performance.

192

Matthew Passion

Ja nicht auf das Fest auf dast nicht tin ^ufruhr werde

Chorus

^^h^^^

&c.

and
Chorus *

Ja nicht auf das Fest auf das nicht ein Aufruhr

&C.

Re/rain,

Weissage,

^-d-

Weissage,

Weissa

t>p.

'hJm

fc pizdzi ^r p^y

Weissage

Weissa

p3Eg3

J-4-

ffrrff-ft

rtt=

'/ '/ 1/

^^Pt^^^

m^7

^5=f

123

Bach

The gigantic B Minor Mass was gradually composed.
At first it was to have been a " missa brevis," but the rest
was added later. Hilgenfeldt ^ makes the following remarks
„ j^f. on it : — " This Mass is one of the noblest

j^ works of Art, full of inventive genius, depth of

feeling, and astonishing artistic power : there
is no other of the same calibre which can be compared to it.
It was originally written for the Saxon Court, and was first
performed at Dresden. On his other compositions of' the
same kind Bach has expended far less energy. It is possible
that a Protestant artist such as he was could not entirely
enter into the religious point of view which he was obliged
to take in composing for the Catholic Church, and several
of his other masses are merely collected from portions of
his cantatas."

This is, however, also the case with the B minor Mass :
thus the Crucifixus occurs in the cantata " Weinen Klagen,"
the Hosanna in "Preise dein Glucke," the Agnus in "Lobet
Gott in seinen Reichen."

The Mass is dedicated to Frederick Augustus in the
following words : —

"Illustrious Elector, — Gracious Master, — To
Your Royal Highness I offer in deepest devotion this
small fruit of the knowledge to which I have attained in
music, with the most humble prayer that you will look
upon it, not according to the poor composition, but with
your world-renowned clemency, and therefore will take
me under your powerful protection.

I have for some years had the direction of the music in the
two chief churches at Leipsic, but have suffered several dis-
agreeable things, and my income has been reduced though
' P. 115.
124

B Minor Mass

I am myself blameless ; but these troubles would be easily
overcome if your Highness would grant me the favour of
a decree, after conference with your Court orchestra.

" The gracious granting of my humble prayer would bind
me to everlastingly honour you, and I offer myself to do
anything with obedience that Your Royal Highness may
require of me in the way of composing church or orchestral
music, and to give unwearied industry, and to dedicate
my whole strength to your service. — With ever-increasing
faithfulness, I remain, Your Royal Highness' most obedient
Servant, — Johann Sebastian Bach."

This letter was handed in to the Court at Dresden when
Bach was there on a visit, July 27th, 1733. The reader
will remember that he was at this time in conflict
with Ernesti, and the Council ; — the title of " Hof
compositeur," Court composer, was not however given
him until 1736. Though Hilgenfeldt says the B minor
Mass was first performed at Dresden, it is doubtful
whether it was ever performed outside the two chief
churches at Leipsic, and even there it was only done
in parts. On a score of the "Gloria" made in 1740
the note occurs "on the feast of the Nativity." The
"Sanctus" also was originally intended as a Christmas
piece. The "Kyrie" is of great length; its score occupies
forty-six pages in the Bach Gesellschaft edition. Like the
rest of the choral portions, it has five voices, two sopranos,
alto, tenor and bass. The orchestra consists of two flutes,
two oboi d'amore, two bassoons, strings and continue.

The Gloria is scored for three trumpets, drums, two
flutes, two oboes, two bassoons, strings and continue. It
will be observed that for the joyful music of the Gloria
the tone of the oboe proper was considered more suitable

Bach

than the perhaps more plaintive tone of the oboe d'amore,
which is used in the Kyrie.

At the very outset the hearers are made aware that a
work of unusual proportions is commencing. The words
Kyrie eleison are sung in a massive five part adagio with
independent orchestral parts, coming to a full close at the
end of the fourth bar. Here an instrumental "largo ed
un poco piano " commences and continues for twenty-five
bars; it foreshadows the vocal fugue, of which the follow-
ing is the impressive subject :

Largo. Tenor,

Kyrie c-le

son Ky - ri - e

1^3

fw^fs

After this fugue has been worked at considerable length
there is an instrumental interlude, and it recommences,
the bass leading off with the subject in the tonic. The
Christe eleison is set as a duet for two sopranos in D major,
and the second kyrie as a fugue, alia breve, in four parts,
in which the instruments double the voices. It has the
following stirring subject :

Atlahreve

^ P- j L>.- f |Jj'^p ^£^^

Ky - ri - e

1«

126

" Et incarnatus est

The "Gloria" begins in D major, and consists of eleven
movements, opening with a vigorous five part chorus vivace.

Orchestra. Vivace,
- I

^r^jm^ M^

" Quoniam solus Sanctus " is a bass aria accompanied
by Corno di caccia, two fagotti and continuo. There are
no other instruments.

The Creed contains seven movements. The words
" Credo in unum deum" are a fugue on the ancient Plain-
song, which is jn semibreves, with a perpetually moving
bass on the organ in crotchets. The only orchestral in-
struments are two violins, which play independent parts.

" Et incarnatus est " for five voices is based on an
arpeggio figure imitated in all the parts :

Alto.

Sop. It. Et in - car- Sop. 1, Et in - car-

=J=

in - car •

tus

r f- I

est in car*

^^^^^^^

—«——§——«—

127

Bach

The "Crucifixus," one of the most impressive move-
ments, is founded on a chromatic ground bass, which
recurs thirteen times, the four part chorus singing various
harmonies above it. This is the form of the Passacaglia,
and the same bass was used by Bach in the opening
chorus of the cantata, "Jesu, der du meine Seele,"
though in a very different manner. "Et resurrexit" is
another movement conceived in Bach's happiest mood.
It is in D major, like the Gloria, and has, if possible,
even more energy and swing. This is the vigorous
opening phrase :

Sof. I. ~P'ff l| . ft . N j' V I i @ ~^"«~t

Sop. II. ^ ^' 4 ' '-fr f- \J\\ W . \ ^JT^

Alto

Bass

and it is repeated for the words "Cujus regni non erit finis."
"Et in Spiritum sanctum" forms a bass solo accom-
panied by two oboi d'amore.

12S

The Sanctus

"Confiteor unum baptisma," a closely knit fugue on
two subjects, is in five parts with an independent organ
bass. After a time the tempo becomes adagio, and
one of the most overpowering effects in the whole of
music introduces the words "et exspecto resurrectionem
mortuorum " ; as it were the whole of creation is called
to witness the supreme miracle of the resurrection of the
dead.

The Sanctus is a six part chorus ; the voices move for
the most part in flowing triplets, the bass generally in an
octave figure. After a time the triplets give way to the
following powerful passage :

Orch. ■

after a few bars of which the triplets are resumed.
I 129

Bach

"Pleni sunt cceli et terra gloria ejus," is a six part
fugue, and "osanna" is a double chorus. The "Dona
nobis pacem" has the same opening passage as the
Rathswahl cantata. The work from beginning to end is
on a gigantic scale, in which each separate movement is
a masterpiece from every point of view.

130

Chapter X

The Wokltemferirte Clavier— ••The Art of Fugue" — " Musical Offering'"
— Bach as a Teacher — Bach's Works in England.

The WohUetnperirte Clavier was gradually compiled and
formed into a complete work in two parts. The first part
was completed at Cothen in 1722, and entitled " The
well tempered clavier, or preludes and fugues through
all tones and semitones, both with major and minor
thirds. For the edification and use of young musicians
who are eager to learn, and for the recreation of those
who are already facile in this study. Collected and
prepared by Johann Sebastian Bach, Grand-ducal Capell-
meister and Director of Chamber music to the Court of
Cothen, Anno 1722."

The expression "well-tempered" refers to the equal
temperament, of which Bach was so strong an ad-
vocate, and many of the pieces would be impos-
sible with any other system of tuning. There is suffi-
cient internal evidence to show that these ^, w hit
delicate and beautiful compositions were ^. .

primarily intended for the clavichord, as . . , , s
fi_. . 1 . . J e ■ intended for

this mstrument had a power of expression ^, • j: ^

which was denied to all the other keyed

instruments of that period. It is a mistake therefore

to play them on the harpsichord, and Spitta is right

131

Bach

in his assertion that they require for their adequate
performance the very best pianoforte that the skill of
modern hiakers can produce. The larger number of
the pieces in the first collection were written at Cothen,
and probably quickly after one another. According
to a tradition they were written on one of his journeys,
when he had not access to an instrument. Schumann
considered that many of the preludes were not originally
connected with the fugues. Bach made three copies
which still exist. He never had any intention of pub-
lishing a work which would scarcely meet with success
among the general public from its difficulty. The
second part was completed in 1740 or 1744. The
only autograph is in the British Museum, add. MS.
35,021, of a page of which we give a photograph.
It is written on large paper, fourteen staves to a
page.

Gerber says that Bach valued the work highly for its
educational value, and played it through no less than
three times to him.

It was first printed by A. F. C. Kollmanns in London in
1 799, but this impression was never published. The three
first editions were those of Hoffmeister and Kiihnel,^
Simrock in Berlin, and Nageli in Zurich, all in 1801.
The first English edition was that of Wesley and Horn,
1811.

That by Hoffmeister and Kiihnel was edited by Forkel,
who, selecting from a great number of copies, published
many of the fugues in a shortened form, believing that
these were Bach's last arrangements of them. It is well
known that Bach constantly polished and improved his
^ Afterwards the firm of C. F. Peters, Leipsic,
132

Bach

works; and the number of different readings of the
Wohltemperirte Clavier would fill a large volume.
Amongst the more noticeable varieties of reading is
„ . that of the E minor prelude in Part I.

,. In LitolfiPs edition (Kohler) and Novello's

* (Best) there is a florid melody in the right

hand, above the chords, which accompany the moving
bass. In Chrysander's edition it is explained that Bach's
more mature taste led him to discard the florid passages,
and it is accordingly published from a later MS. with
only the chords on the first and third beats of the bar,
the melody being entirely omitted.^

The " Art of Fugue " is a series of workings of a single
subject in many different ways. Like the Wohltemperirte
Clavier it was primarily intended for educational purposes.
Forkel gives the following account of it :

"This excellent and unique work was not pub-
lished till 1752, after the composer's death, but was
for the most part engraved during his life by one of
. , his sons. Marpurg, at that time at the

_ •' helm of musical literature in Germany,

^ wrote a preface to the edition, in which

much that is good and true is said concerning the
work.

" But this ' Art of Fugue ' was too lofty for the great
world ; it became only known in the very small world of
connoisseurs. This small world was soon provided with
copies ; the plates were useless, and were finally sold by
Bach's heirs as old copper." . . .

" The last fugue but one has three subjects, the third
being the notes b, a, c, h. T^is fugue was however- in-
' See Forkel, p. 64.
U4

"Musical Offering"

terrupted by the blindness of the author, and could not
be finished.

"To make up for the unfinished fugue, the editors
added at the end the four voice chorale 'Wenn wir im
hochsten Nothen sind,' which he dictated to his son-in-
law Altnikol on his death-bed."

The work was brought out at the Leipsic Fair of Easter
1752. Mattheson was loud in his praise saying it would
astonish all French and Italian fugue-makers. But the
work was in reality finished. The MS. was complete,
and the engraving was being done under the author's
direction when he died in 1750. No one could fulfil his
intentions, and the engravers simply went on engraving
everything that came to hand, both sketches and com-
pleted movements, and it was full of printer's errors.
Hauptmann clearly shows that the last (unfinished) fugue
is certainly Bach's own work, but that it has no con-
nection with the " Art of Fugue," which closes in reality
with the fugue for two claviers. The series of fugues are
all on one subject ; the unfinished work leaves the subject,
and has nothing to do with the other fugues. We have
therefore Bach's last work complete, and the incomplete
portion is due to a mistake of the first publishers.

" The Musical Offering " is a series of fugues and canons
on a subject given to Bach at Potsdam by Frederick the
Great. The work consists of —

1 . Fuga (ricercata) for three voices.

2. Fuga (ricercata) for six voices. Musical

3. VIII. Canons. Offering

4. Fuga canonica in epidiapente.

5. Sonata (Trio) for flute, violin, and bass.

6. Canon perpetuus for flute, violin, and bass.

135

Bach

It is headed :

"Regis lussu Cantio, Et Reliqua Canonica Arte
Resoluta."

The dedicatory letter will explain its purpose :

"Most Gracious King, — To Your Majesty is prof-
fered herewith in humblest obedience a musical offering,
whose most excellent portion originates from your noble
hand. I recall with respectful pleasure the peculiarly
royal favour with which during . my visit to Potsdam your
Majesty was pleased to play to me a fugue theme, and to
require me immediately to work it out in your presence.
Obedience to your Majesty's command was my duty. I
however soon" remarked, that for want of proper pre-
paration the working out was not as good as so excellent
a theme required. I therefore resolved to work out this
most royal theme properly and to make it known to the
world. This project is now fulfilled to the best of my
ability, and it has no other object than in some small way
to do honour to the fame of a monarch, whose greatness
and power both in the arts of peace and war, and
especially in that of music are acknowledged and admired
by all. I make bold to add this humble request : that
your Majesty will accord a gracious reception to this small
work, and by so doing still further extend your royal con-
descension. — Your Majesty's most humble and obedient
servant. The Author.

" Leipsic, luly 7, 1747."

This dedication however only referred to a portion
of the work, which was gradually completed and en-
graved later. The epithet ricercata perhaps refers to
the mechanical difficulty of the pieces.

136

As Teacher

The six Great or English Suites are so called according
to Forkel ^ because they were written for some Englishman
of rank. The same authority says that the six little French
suites received their name because they are in French taste.
It does not appear that the composer gave either of these
names. Both sets seem to have been written at Cothen.

All accounts agree as to Bach's wonderful capacity for
teaching, and we have a description of his
methods from one of his pupils, H. N. Bach as
Gerber,^ which we make no apology for a teacher
quoting in full:

"He went to Leipsic to study partly law and partly
music under the great Joh. Seb. Bach. ... In the first
six months he heard much excellent church music and
many concerts under Bach's direction, but no opportunity
arose which gave him courage to approach the great man,
until at last he mentioned his wish to one of his friends
called Wilde (afterwards organist at St Petersburg) who
introduced him to Bach. Bach received him in the most
friendly manner and at once called him ' Fellow-country-
man.'* He promised to give him instruction, and asked
whether he had practised fugues diligently. At the first
lesson he placed the 'Inventions' before him. When
Gerber had studied these to Bach's satisfaction, he was
given a number of suites, and then the WohltemperirU
Clavier. This work Bach played through three times to
him with unapproachable art ; and my father counted
those amongst his most enjoyable lessons when Bach,
under the excuse that he felt indisposed to teach, would
seat himself at one of his excellent instruments, and the

' P. 56. ' Father of the author of Gerber's Lexicon.

' Gerber was a Thuringian.

137

Bach

hours passed like minutes. The end of a lesson was
taken up with figured bass-playing, for which Bach would
choose the violin solos of Albinoni ; and I must confess
that the skill with which my father performed these basses
in Bach's manner, and especially in the flow of the parts
amongst each other was unsurpassable. This accompani-
ment was so beautiful in itself that no solo part that I
have heard could give me so much pleasure." Gerber
was for two years under Bach.

ForkeP tells us that the first thing he taught was
his own peculiar touch, and for this purpose the pupil
was kept for several months at finger exercises, in fact they
sometimes lasted from six to twelve months ; but when the
pupil's patience began to flag he was given little pieces
which Bach composed specially for him, such as the six
little preludes for beginners, and the two-part inventions.
He wrote these during the lesson, and was thus able
to make them suit the particular requirements of the
pupil. Together with the finger exercises the pupil had to
practise all manner of ornaments, and Bach demanded
the severest possible application from all his pupils.

As soon as possible he was made to learn whichever of
Bach's greater works suited him. In order to lighten the
difficulties. Bach played the piece through to the pupil,
and said, " that is how it must sound."

One can, says Forkel, scarcely enumerate the many
advantages of such a method. Even if it were only that
the pupil is roused to emulation through the pleasure of
hearing such a performance, the advantage would be very
great. But in addition to this he obtains at once a grip
of the piece in its complete form, instead of having to
• P. 38.
138

Teaching Composition

work it out bit by bit as he gradually overcomes the
mechanical difficulties.

The instrument on which Bach taught was the clavichord,
on account of its expressive quality which trained the ear to
fine shades of tone; he would have nothing to say to
mere finger training apart from understanding the music,
and insisted on the cultivation of both art and technique
together.

In teaching composition Bach did not begin with
dry counterpoints leading to nothing, as in his time
was done by all other teachers ; still less did he trouble
his pupils about tone-relationships, which in m th il t
his opinion concerned only theorists and in- t j,
strument makers. He started at once with ^ . .

pure four part figured bass, and insisted on the ^
proper leading of the parts, because this would give the
clearest insight into the harmonic progressions. He then
went on to the chorale, to which he at first set the basses
and made the pupil only write the tenor and alto, after-
wards gradually making him write the bass. He insisted
at all times not only on the greatest possible purity in the
harmony, but on the natural and flowing connection of all
the single voices. The models he himself has left are
known to every connoisseur, and his inner voices are often
so singable that they might serve for the upper part. This
style had to be striven for by the pupil, and until he had
reached a high degree of proficiency Bach did not consider
it wise to allow him to try inventing on his own account.
He took for granted that all his composition pupils had
the faculty of thinking in music. If any had not this
faculty he was advised not to attempt composition.

As soon as the above-mentioned preparations in

139

Bach

harmony were finished, he began with two voice fugue,
and in this, and all composition practice, the pupil was
strictly forbidden to use the clavier. Those who were
obliged to do so he called " Knights of the keyboard."

In fugue he was especially careful about the part
writing — no voice must merely fill in the harmony, or
break off before it had finished what it had to say. He
looked upon his voices as persons, who conversed together
as in private society, in which it would be unseemly
for anyone to disturb the conversation either by un-
interesting remarks, or by not finishing his sentences.
On the other hand, he allowed his pupils as much
freedom as possible with regard to intervals. They
might try any experiments they liked as long as no
damage was done to the purity of the harmony, or the
inward meaning of the movement. He tried all possible
experiments himself, and was glad to see his pupils do so.
The whole of his system is to be found in Kirnberger's
" Kunst des reinen Satzes " (Art of pure writing). ^

Among his pupils were his sons, of whom an account
has already been given. The others were the following :
— Johann Caspar Vogler, who began studying under
him at Arnstadt and Weimar, and, according to Bach's
own showing, was a very fine organist. He became
organist and Burgomaster at Weimar.

Gottfried August Homilius, subsequently music director
_ .. of the three chief churches at Dresden, and

^^ cantor of the Kreuzschule. He was also of

considerable reputation as an org-anist and church com-
poser. Died 1785.

Christoph Transchel, who died in 1800 at Dresden,
1 Forkel, pp. 40, 41.
140

Notable Pupils

was an esteemed teacher and clavier player. He was
the owner of a considerable musical library.

Johann Ludwig Krebs eventually became Court organist
and music director at Altenburg, where he died in 1803.
He was a very good organist and composer. Bach's
pun, "Ich habe in meinem Bache nur einen Krebs
gefangen," " I have only caught one Crab in my stream,"
was intended to show the esteem in which he held
him.^

J. G. Goldberg of Konigsberg was declared by Bach
to be one of his best pupils on the clavier and organ.

Altnikol, his son-in-law, a fine organ player, and organ-
ist at Naumburg. He helped his father-in-law consider-
ably during his blindness.

John Philipp Kirnberger, born 1721, died at Berlin in
1783, was Court musician to Princess Amelia of Prussia,
and celebrated as a theorist and composer.

Johann Friedrich Agricola (1720-1774) became com-
poser to the Prussian Court. He was more known by
his theoretical works than his compositions.

Johann Christian Kittel, who was organist at Erfurt
and died in 1809, was a thorough harmonist, a clever
and learned organist, an able composer, and a good teacher.

Johann Schneider, Court organist and first violinist
at Saalfeld, and afterwards organist of the Nicolai Church
at Leipsic. He was also a pupil of Graun.

Johann Martin Schubart (1690-1721) was Bach's first
pupil ; he became organist at Weimar, but died early.

A pupil named Voigt is mentioned by Emmanuel Bach

as having come to his father after he (Emmanuel) had

left the house. Perhaps he is the author of a "Con-

' See page 49.

141

Bach

versation between an organist and his deputy about
music," mentioned by Walther.

Gotthilf Ziegler, organist and music director at St
Ulrich, Halle, was a renowned teacher, composer and
writer.

Ernst Bach, his cousin, was Capellmeister at Eisenach,
having first studied law, and become a barrister. He was
also a composer and organist.

J. H. Miithel, organist in Riga, a good performer and
composer. Gerber gives a long account of him, and
Burney praises his playing and compositions.^

We have seen that the first attempt to publish the

Wohltemperirte Clavier was made in London. England

was early in its recognition of the composer, cliiefly

through the efforts of Samuel Wesley (176 6- 1837) who,

becoming acquainted with his works, eagerly propagated

„ ,, a knowledge of them. Wesley's edition of

. . the Wohltemperirte Clavier was published in

music tn ■ t- vu o -c tj • o J

_ . , conjunction with C. F. Horn m 1810; and

° through his influence, Forkel's "Life" of

Bach was translated and published in 1820. He became
famous for his performances of Bach's organ fugues, or
as they were called in those days "pedal fugues," and
perhaps the name of his third son, Samuel Sebastian, may
have some connection with his admiration for Sebastian
Bach.

In 1 849 the English Bach Society was founded, having
as its objects the collection of the compositions and the
performance of the works of J. S. Bach. It gave the first

1 In addition to the above-mentioned professional pupils, all
amateurs living near obtained at least a few lessons from "so great
and celebrated a man." — Forkel, p. 42.

142

In England

performance of the " Matthew Passion " in England at
Hanover Square Rooms in 1854 under Sterndale Bennett.
After a few more performances the society was dissolved
in 1870, and its library given to the Royal Academy of
Music.

In 1875 the "Bach Choir" was formed under the
conductorship of Mr Otto Goldschmidt, for the per-
formance of the B minor Mass, which was effected in
1876 at St James's Hall, and the society was then placed
on a permanent footing for the purpose of performing
works of Bach and other composers. In 1885 Mr
Otto Goldschmidt was succeeded by Professor Villiers
Stanford, under whose baton many of Bach's important
works have been performed.

Bach is perhaps best known in England at present
by his organ works, which are familiar to all competent
organists, and his violin solos, which Herr Joachim has
done so much to propagate. The Wohliemperirte Clavier
is a household word to every earnest musician, and
his Passions of St Matthew and St John, besides the
Christmas Oratorio and a few cantatas, are frequently
performed in London churches.

Selections from the organ works have been published
in England from time to time : by S. Wesley, by Coventry
and HoUier (with the pedal part arranged by Dragonetti
for double bass), by Best and by Novello with Best as
editor, A complete edition Is being brought out by
Sir F. Bridge and Mr J. Higgs.

143

Chapter XI

The Christmas Oratorio — The Magnificat — The Lost Works —
Instrumental Works — Bach's Playing — The Manieren, or Grace
Notes.

Bach never wrote an oratorio in the sense of a sacred

dramatic work to be performed on a stage without action.

We have shown that the Passion settings are a portion of

the Lutheran Lenten services; and the church cantatas

take much the same place as the anthem in the English

Cathedral service, with the difference of greater length,

orchestral accompaniment, and an opportunity for the

congregation to take part in the final chorale.

The so-called Christmas .Oratorio, dated 1734, is nothing

more than a series of six cantatas, to be sung during the

service on six successive days at Christmas time. Each

-, . , begins with a chorus which is followed by

Christmas ° , . j v ,.• j v j

-. . several anas and recitatives, and each ends

with a chorale, besides which, chorales are

also interspersed in the body of the work. The

second cantata opens with a most exquisite symphony,

of a pastoral nature something akin to the pastoral

symphony in the "Messiah," but longer, and with the

most subtle orchestral effects ; especially are the passages

for two oboes interchanging with the strings most beautiful;

and the chief " motive " of the symphony recurs in the

144

Smaller Masses

accompaniment of the closing chorale. The character of
the choruses is for the most part one of triumphant
joyfulness, and the arias have all the tender effects which
Bach so well knew how to produce.

The Easter Oratorio is a short cantata without a chorale.

The motets are compositions in several movements
for unaccompanied voices, from three to eight in number.
The movements are interspersed with chorales ^

harmonised in four parts. The seventh motet, ^ .
" Ich lasse dich nicht," though as fine as any,
is considered to be almost certainly not by Bach, and is
therefore only given as an appendix in vol. 39 of the
Bach Gesellschaft edition. The appendix also gives a
figured bass and instrumental accompaniment to No. 2.
" Der Geist hift unsere Schwachheit auf."

Motets by Bach and other composers are sung in the
Thomas Church at Leipsic, and in the Kreuz-Church at
Dresden at vespers on Saturday afternoons.

Bach also wrote a few secular vocal works. Among these
are several birthday, wedding and funeral cantatas — odes
for important personages ; some " Dramme „ .

per Musica," two of which, the " Choice of w k

Hercules," and " Tonet ihr Pauken" are taken
bodily from the Christmas Oratorio, other words being
adapted to the music ; a cantata for the dedication of a
new organ at Stormthal, a comic cantata in praise of
coffee. Some of the secular cantatas were composed for
the Concert Society which met once a week about 1736
in a coffee-house in the Katharinen-strasse at Leipsic, and
of which Bach was the director. Among these was " The
strife between Phoebus and Pan."

Besides the B minor Mass Bach wrote four " short "

K 145

Bach

masses of much smaller calibre, four "Sanctus," and
a "Magnificat" in D major of great power and beauty.
„ .. This work appears in two forms, of which

• - , one is much finer than the other, and is there-

„ ., fore considered to be the latest. It was the

* •' custom to intersperse the singing of the Latin

Magnificat with four chorales, but this custom not coincid-
ing with Bach's sense of the fitness of things, he added
the chorales as an appendix to his score.

The work is for a five part choir, with arias, a duet,
and a trio. The trio is a remarkable canon, or rather
piece of canonic imitation in the voice parts, to the words
" suscepit Israel puerum suum," to which the strings play
an accompaniment, while the oboes play in their highest
register the chorale "meine Seel' erhebt den Herren"
(" my soul doth magnify the Lord "). And, as showing
Bach's sense of form, the whole work is welded together
by a fresh working of the material of the opening chorus,
at the words "sicut erat in principio et nunc. . . . Amen."
We have remarked on this kind of construction in the
second cantata of the Christmas Oratorio,^ and it is not
at all infrequent with Bach.

Except opera and oratorio Bach wrote every kind of
work that was known in his day. The Bach Gesellschaft
completed the publication of his works in full score in
1898 in some sixty large quarto volumes. Complete
editions of the vocal works in pianoforte score and the
instrumental in full score have been published by Peters,
and by Breitkopf and Hartel of Leipsic, while the editions
of selected portions published from time to time since
the beginning of the nineteenth century are innumerable.
' P. 144.
146

MSS. of Works

But when we say "complete edition" it must be
understood as referring only to the works that have
been preserved, for a large number seem to have been
lost when the great man died : before his property was
valued for probate there was an unseemly scramble for
his manuscripts among his elder sons.

Mizler, in his " Necrology," tells us the bare fact that

there were five " year courses " of cantatas, i.e. sets of

cantatas for each Sunday and holy day „, „

throughout the year. The Lutheran ecclesi- ^ „

.. , 1 ■ cc< ■ u J / ■ courses

astical year contams fifty-nme such days (six

Sundays in Lent and three in Advent are excluded). The

five courses would therefore require no less than 295

cantatas. Of these W. Friedemann took three " year

courses,'' since he could use them in his post of organist

at Halle, but his wretched circumstances forced him

afterwards to part with them one by one.

Forkel only knew of " eight to ten motets for double
chorus," and twenty-one church cantatas, two five-voice
masses, a mass for two choirs, of which the first choir is
accompanied by strings, the second by wind, a double-
chorus Passion with text by Picander (this must be the
" Matthew Passion " ), a Sanctus, some motets, a single
fugue for four voices, and a comic cantata.

The other two "year courses," which included about
ninety cantatas, and the two known Passions, went to C. P.
Emmanuel Bach.

The MSS. of the larger number of the existing works of
Bach are in the Royal library and in that of the Joachims-
thal at Berlin. Many of these are in autograph. The parts are
of more value than the scores, since they are not only more
carefully copied, but contain the corrections for performance.

147

Bach

Bach used to wrap up his scores and parts in covers
on which the name of the work and title of the com-
poser were fully given, while on the MSS. themselves
nothing was given. If the cover were lost, therefore,
the composer's name was lost. Many works by other
composers are found in Bach's handwriting, both score
and parts.

The Bach Gesellschaft has been at immense pains to
search for all that exists of Bach's compositions. In
ry-ffj jf vol. vi. they give a long account of the diffi-

. J , , culties they had to contend with in publishing

tn the zvay of ^, „ ■ -kit ii_ r ..i. -.

» 7 7- J- the B minor Mass: the owner of the auto-
pubhcation , , ■ j-i^^ i.. • ..i_ •

■^ graph score, placing every difficulty in their

way, would neither sell it nor lend it to them, and
finally tried to dispose of it secretly to some unknown
person. They were obliged, therefore, to publish it from
such copies as they could collect; but almost immedi-
ately after they had done so they obtained access to the
precious MS. and were able to publish an appendix,
giving whatever variations from their own edition were
found there.

Of Bach's instrumental compositions the most im-
portant are, as we have indicated, those for the organ
and other keyed instruments. He has left many orchestral
works, but these have not the significance of his organ
and clavier music, for the symphony, in the modern sense,
was not yet developed.

His playing is thus described by the poet Schubart : —

„ ,, "J. S. Bach was a genius of the highest

. . order, his soul is so peculiar, so gigantic,

P y S that centuries will have to pass before he

is reached by anyone. He played the clavier, the

148

His Playing

fliigel, the cymbal with equal creative power, and the
organ — who is like him ? who will ever equal him ? His
fist was gigantic; he could, for example, stretch a 12th
with the left hand, and perform running passages between
with the three inner fingers j he made pedal runs with the
greatest possible exactness, he drew the stops so silently
that the hearer almost sank under the magic effect ; his
hand was never weary, and lasted out through a whole
day's organ playing.

" The comic style was just as familiar to him as the
earnest ; he was equally a virtuoso and composer. What
Newton was as a philosopher Bach was as a musician.
He had such a wealth of ideas, that no one except his
own great son can come near him; and with all this he
combined also the rarest talent for teaching."

With respect to the Manieren or grace-notes attacked
in the " Kritische Musikus " by Scheibe, a friend of
Bach's answered the attack by saying that ™ „
by means of these signs no performer would
now be able to destroy the effect of a piece
by applying his own method ; those who went wrong
would be put in the right way, and the honour of the
master would be retained.

The four chief ornaments are —

Written Played

The Vorschlag (appoggiatura)

It appears more in the parts than in the scores, and seems
to have been mostly added after they were written out.
When Bach required it to be played slowly he wrote out
its exact value in full-sized notes.

149

Bach

The Trill {tr.) seems to have been put down rather
recklessly, perhaps on account of fashion. Thus, the
oboe sometimes has trills given it which are quite im-
possible to perform.

Each composer had his own method of writing the
various signs and there was of course hopeless con-
fusion. There is no doubt that the trill was used to
mean three different things, at the choice of the per-
former : namely, the vibrato of the violin and tremulant
of the organ, or a real trill, or simply a tenuto. The sign
\

J 1— T ^^

— appears to be equivalent

fes^

Ti=3tZ

to tenuto, thus ~^ % ^~^^^^^f*

±M=

Notes which are neither detached (gestossen) nor slurred,
nor held out, must be sustained for half their value, but
if the word ten. appears above them they must be given
their full value. These notes are generally quavers and
crotchets in moderate and slow tempo, and they must
not be played weakly, but with a refined and quite gentle
touch. Some of the signs can be interpreted by the fact
that they are written out in full in the parts. In this way

Reitz has shown the Schleifer (GUde) —n — to mean

^ rz It was called in French Cow/^, sometimes written
ISO

Manieren or Grace Notes

The Pralltriller or half trill

i"^

is lengthened when over long notes. It means no precise
number of notes. This is J. S. Bach's own explanation,

J^'W (\\V

It will be seen that all four signs mean the same thing,
and no turn is to be played as in the shake. According
to C. P. Emmanuel Bach it must be so rapid that one
does not perceive any loss of time from the principal
note.^

The Mordent

is to be played

the

lower note being either a semitone, as above, or a tone, as
in the little E minor fugue (Peters, 242).

' This description of the Manieren is extracted from the Introduction
to vol. vii. of the Bach GeseUschaft Edition.

151

Chapter XII

Innovations in the Fingering and Use of Keyed and
Stringed Instruments.

At Weimar Bach had devoted a considerable part of
his energies to the clavier, as his official duties demanded.
The harpsichord, being deficient in expression and in
duration of sound, required rapidity of movement and
polyphonic writing to produce its due effects. Bach did
what was possible, however, to use the legato style on it,
and on the other hand introduced on the organ, as far
as it would bear it, the rapid execution peculiar to the
harpsichord.

Before his period the fingering of keyed instruments
„, J. . had not been reduced to any systematic
f h rf niethod. Michael Praetorius in his Syntagma

■ . . Musicum thinks the matter of no import-

ance, and that if a note was produced clearly
and distinctly it was a matter of indifference how it was
done.^

' In " The Compleat Tutor for the Harpsichord or Spinnet, wherein
is shown the Italian manner of Fingering, &c. " by S. and S. Thompson,
the date of which is later than 1 742, since it contains the minuet in
Samson, the little finger is never used in a scale, and fingers are made
to go under one another, in the way the thumb is used nowadays.
The English numbering is used ; and the example of an ascending
and descending scale on p. 153 shows the chaotic condition of things.

152

Fingering

1232

I + 3 2 1 + 2 1 + 1

^B ^^p j

At the beginning of the eighteenth century the necessity
of some method seems to have dawned on musicians ; up
to that time the thumb and little finger had hardly been
used, owing to their shortness. In order to play legato
on the organ, the middle fingers were made to go under
and over each other. Daniel Speer, in 1697, gives the
following fingering for the scale of C (for convenience we
alter it to English numbering) : —

Right Handi 32323232323^3^

^^^

Left Hand 121212121212121
Right Hand i 2 I

212121212121

-,-r

Left Handi 3232323 2T^, Lj T

•'•'232
Mattheson taught —

Right Hand 2 32323232323*24^

-^^m

Left Hand 2l + i + i + i + i + l^l +
RightHandA^Z2 ,2,2,2,212,2

Hand 121212121 TT*~ vJ I

123

Left Hand

'53

Bach

J. F. B. C. Majer, a Swabian organist about the same
time, taught —

Right Handi 32323232323^ 3 ^

i z^^BS^

Left Hand l + l + i + l + l + l + l + l

There is no advance in these fingerings on the book
by Ammerbach, published in 1571.

The right thumb it will be seen was unused, and hung
helpless — the fingers being stretched out flat to reach the
keys.

In order to bring the thumb into use, Bach caused the
fingers to be curved and to remain over their respective
keys, so as to be able to strike them accurately and
rapidly. The thumbs had to pass under the fingers, and
to take an equal part with them in the playing.

The new kind of fingering was made the more necessary

by the use of all the keys equally ; for hitherto only a few

„ ,, keys had been used. The hand and arm were

., , , to be held horizontally, the wrist straight :
method of ^, ^ ^^ .. ■ ^v. .. 1 v

J. . ■' the fingers bent m the natural position as-

^ ° * sumed by the hand when about to grasp

any object. Each finger had to fall without disturbing the

others ; and Bach devoted an immense amount of labour

to make his fingers independent and equal in strength.

He could perform trills with all fingers equally well, and

could play melodies at the same time with the other

fingers. After a finger had held down a note as long

as was necessary it was drawn towards the inner part of

the hand on leaving the key. The wrist and elbows were

kept perfectly quiet. The method was the same for both

IS4

Other Fingering Methods

organ and harpsichord. The keys were not struck but
pressed down. Bach raised his fingers so little that their
movement was hardly noticeable. They were, however,
still passed over one another, as well as the thumb, and
in order not to break the legato effect, the finger passed
over was drawn back before leaving the key. This method
was particularly applicable to the clavichord, one of Bach's
favourite instruments.

He liked the upper row of keys to be shallower than
the lower, so that he could slip down from one to the other
without change of finger.

But others were at work on the same ground. Couperin,
organist of St Gervais at Paris, published in 1717 his
" L'art de toucher le clavecin." J. G. Walther used the
thumb, and has left some organ chorales with this in-
dicated.

Heinichen and Handel also used the thumbs, and bent
their fingers over the notes, so that they struck the right
ones unconsciously.

Two short pieces with Bach's fingering in his own
hand have come down to us — the rules laid down by
his son C. P. Emanuel differ from them considerably •
thus Emanuel limits the crossing to the thumb ; Sebastian ,
prescribes crossing of fingers as well.

Sebastian, in fact, retained all that was advantageous
in the old system and engrafted on it the use of the
thumb, etc. His son, who was the forerunner of modern
piano-playing, simplifies his father's rules. His composi-
tions were of a far less complicated nature than those of
his father, and he therefore was able to use simpler
fingering.

The hammer-like stroke required for the modern piano

Bach

effectually banished the crossing of fingers over one
another, by which pressure only, not a blow, could be
obtained. The loss of Bach's complete method of finger-
ing (which is not adapted for the piano) causes his com-
positions to be more difficult to the modern player than
they were to him, but this does not hold good of the
organ, the nature of which remains the same as in his
time.

He played equally in all keys, and for this purpose had
his instruments tuned in equal temperament, as is uni-
versally the case at present. Experiments had been made
in this method of tuning by Werkmeister, who died in
1706, and, later, by J. G. Neidhardt.

The early experiments in tempering must have led to
curious results— thus the major-thirds were flattened ; and
yet only when three major-thirds are sharpened (CE, E

Eouai ^#' ^ (^'') ^) ^° ^^^y '^^^'^^ ^ p^'^^y

.^ ^ . tuned octave. Bach mastered the problem

temperament j. , • ir tt ^ j u- u • u j

^ for himself. He tuned his own harpsichord

and clavichord, making the major-thirds rather sharp;
and he must have flattened the fifths as we do. His
son Emanuel speaks of his testing the fifths by tuning
their octave below, and making this a fourth below
the starting point. What he did was the result of
practical experiment, for he would have nothing to do
with mathematical theory. He always quilled his harpsi-
chord himself; and he made a point of practising the
clavichord, since the expression possible on this instru-
ment made the ear keener and more sensitive to the
possibility of effect on the more inexpressive harpsichord.
Spitta considers that Bach's genius in a way foresaw
the advent of a more perfect instrument than either the

156

An Inventor

clavichord or harpsichord — an instrument which should
combine the expression of the first with the power of the
latter, and at the same time approach the organ in possi-
bilities of legato and sustained sounds. Such an instru-
ment is the modern pianoforte.

In 1740 Bach planned a lute-harpsichord, and got
Zacharias Hildebrand, an organ-builder, to make it under
his direction. It had gut strings, two to Th T f
each key, and a set of octave metal strings. , j, ■ j, /}
It had also cloth dampers, which made ^
the instrument sound something like a real lute ; and
when these were raised, it sounded like a theorbo —
it was in size shorter than an ordinary harpsichord
(Adlung Mus. Mech. II., p. 139).

Although Bach was concertmeister, or leader of the
orchestra at Cothen, it is not to be supposed that he
had any extraordinary facility on the violin. Quantz, in
"Versuch einer Anweisung, etc.,'' rightly considers that
for such a post, at any rate in those days, it was more
necessary that the holder should be a good all-round
musician with sufiScient facility to execute the ordinary
orchestral music, than that he should be a "virtuoso"
— ^and not every virtuoso makes a good leader.

His knowledge of the construction of stringed instru-
ments was sufficient for him to invent a new one while he

was at Cothen, in order to meet the demands „ , ,

J iu f u I.- • Knowledge

made on the performer by his own music. f f • \j

This instrument, which he called the viola . ^ ^ ^
^, . , ^ ^, . , instruments

pomposa, was something between the viola

and violoncello. It was played Uke a violin, and had five

strings tuned to the four strings of the violoncello, with

the addition of E above the first string. This additional

IS7

Bach

string makes the performance of his sonatas for violoncello
comparatively easy. Thus in the sixth violoncello sonata,
which is expressly written for five strings, in the third bar of

the saraband the chords

d V

are comparatively easy with the additional string; and

in the gavotte

Nstrf

=^=5=

the first chord would

be played with two open strings, which is impossible
with a four-stringed instrument. He also altered the
tuning of his violoncello, as in the fifth sonata, where he
lowers the first string to G^ and obtains the chords

etc.

s ^m^

It seems impossible that he could have himself per-
formed his violin and violoncello sonatas; they tax the
highest efforts of the best performers of the present day ;
but his knowledge of stringed instruments and their
possibilities is shown by these compositions to have been
as profound as his knowledge of the organ. No mere
theoretical knowledge could have sufficed to enable him

' Our readers will remem^)e^ the familiar case in Schumann's piano-
forte quartet, where he lowers the C string to B|j for a particular effect.
De Beriot raises his fourth (violin) string to A for certain passages.

158

Practical Knowledge

to write these things j he must have had a wider practical
knowledge than any but the best virtuosi, and to this he
united his enormous genius for composition.

It appears natural that the German violinists, with their
feeling for full harmony, should have cultivated the art of
double-stopping on stringed instruments, rather than that
of pure melody and tone. It is said that Bruhns the
organist, Buxtehude's pupil, while playing in three and
four parts on his violin, would sometimes sit before an
organ, and add a bass on the pedals.^

' M. Vivien, a pupil of Leonard, and one of the first violins in the
orchestra at Brussels about 1876, had a violin of which the bridge was
cut nearly flat at the top. This enabled him to play on three and
(with a little extra pressure of the bow) four strings at once, by which
he produced very full effects.

159

Chapter XIII

The Organs in Leipsic Churches — Bach's Method of Accompanying —
The Pitch of Organs.

There were two organs in the Thomas Church, the larger
of which dated from 1525. Ini72iit was enlarged by
Scheibe, a builder of whom Bach had a very good opinion.
In 1730 it was again improved, by giving the choir organ
a keyboard of its own, instead of its being acted on by
the great key-board as was formerly the case.
The organ contained : —

Great

I. Principal (open diapason), .

16 ft.

2. Principal (open diapason), .

8„

3. Quintadena,

16 „

4. Octave (our principal),

4»

5. Quinta, ....

3 ..

6. Superoctava (our fifteenth),

2 ,,

7. Spiel-Pfeiffe, .

8„

8. Sesquialtera gedoppelt,

9. Mixture,

6, 8 and 10 ranks.

Brustwerk ^

I. Grobgedackt, .

8 ft.

2. Principal (open diapason), .

4,.

■ The portion in front of the main organ :

'I'lnrmpr

md therefore behind the

160

Thomas Church Organ

3. Nachthorn,

4. Nasal,

5. Gemshorn,

6. Cymbal, .

7. Sesquialtera,

8. Regal,

9. Geigenregal,

RUCKPOSITIV ^

1. Principal,

2. Quintadena

3. Lieblich Gedacktes,

4. Klein Gedacktes,

5. Traversa,

6. Violino, ,

7. Raschquint gedoppelt,

8. Mixtur, .

9. Sesquialtera,

10. Spitzflot, .

11. Schallflot,

12. Krumbhorn,

13. Trommet,

4 ft
3 •>
2 »
2 ranks.

8 ft.
4»

8ft
8„
8„
4 »
4 >i
2 •>

4 ranks.

4 ft.

I »
16 „

8..

Pedal

1. Sub-bass von Metall,

2. Posaune Bass, .

3. Trommeten Bass,

4. Schalmeyen Bass,

5. Cornet, .

' See Glossary.

:. 161

16 ft.
16 „

8.,
4 ,,
3 »

Bach

There were also Tremulant, Vogelgesang, Zimbelstern-
Ventils and ten bellows. The organ loft has been twice
enlarged, first in 1802, and afterwards in 1823. It
now accommodates the whole of the large double chorus
and double orchestra employed in performance of the
Passion music on Good Friday.

The smaller organ was built in 1489. In Bach's time
it stood in a gallery opposite the large organ. It was of
very little use, and in 1740 was sold to St John's
Hospital. It had three manuals, pedal, and twenty-one
stops, and was only employed on high festivals. As it
was at a considerable distance from the other organ,
difficulty was felt in keeping the two choirs together.
This gallery remained, and was used for musical purposes,
till 1886.

The organ of the Nicolai Church was built in 1598,
repaired in 1692, and in 1725 was thoroughly renewed
by Scheibe at a cost of 600 thalers.

The organ at the University Church was the best in
Leipsic at that time. It consisted of : —

Great

I. Principal (open diapason).

ft.

2. Quintaton,

3. Principal (open

diapason),

4. Schalmei, .

5. German Flute,

6. Gemshorn,

7. Octave,

8. Quinte,

9. Quintnasat,

10. Octavina, .

162

. 2

Leipsic University Organ

II. Waldflote, .

ft.

12. Mixture

ind 6 ranks

13. Cornet, ....

ranks.

14. Zink, ....

Brustwerk

I. Principal,

fl.

2. Gamba, ....

3. Grobgedackt,

4. Octave,

5. Rohrflote,

ft.

6. Octave (fifteenth),

»l

7. Nasat,

8. Sedesima, .

9. Schweizer Pfeife,

10. Largo (No. of feet not stated).

II. Mixture, ....

ranks.

12. Clear Cymbal, .

Third Manual

I. Lieblich Gedackt,

ft.

2. Quintaton,

3. Flftte douce.

}»

4. Quinta Decima,

5. Decima Nona,

6. Hohlflote, .

7. Viola,

8. Vigesima Nona,

■ »

9. Weitpfeife,

10. Mixtur,

ranks.

II. Helle Cymbal,

ft.

1 2. Sertin (perhaps serpent).

i»

163

Bach

Pedal

I. Principal, .

. 16 ft.

2. Quintaton, '

16 „

3. Octave,

8 „

4. Octave,

4 ,,

5. Quinte,

3 »

6. Mixtur,

5 and 6 ranks

7. Quinten-bass,

6 ft.

8. Jubal,

8 „

9. Nachthorn,

4 »

10. Octave,

2 »

11. 2nd Principal,

. 16 „

12. Sub-bass, .

16 „

13. Posaune, .

. 16 „

14. Trompete, .

. 8 „

15. Hohlflote, .

I )•

16. Mixtur,

4 ranks.

The organ had been tried by Bach on its completion
in 1 7 16, who wrote a very elaborate report.^ It may be
of interest to quote some of Bach's remarks, i. He says
that the space occupied is too confined to admit of easy
access to some of the parts, in case of repairs being
required. This was, however, not the fault of the builder
Scheibe, as he was not allowed the space he asked for.

2. The wind must be made to come more equally, so
as to avoid heavy rushes of wind.

3. The parts quite fulfil the description in all respects ;
and the contract, with the exception of the Schallmey and
Cornet, which were changed by order of the college for a
2 ft. Octave (isth) and 2 ft. Hohlflote, is completed.

' Given by Spitta, vol, ii. p. 289.
164

Playing Figured Bass

4. The defects of intonation must be done away with ;
and the lowest pipes of the Posaune and Bass Trumpet
made to speak less roughly and harshly. The instrument
to be frequently and thoroughly tuned in good weather.

5. The keys have too great a fall, but this cannot be
helped, owing to the narrowness of the structure.

6. Finally, the window behind the organ should be
built up as far as the top of the organ, or covered with
an iron plate, to prevent damage by weather.

The above list of 54 stops is given by Spitta, who
quotes from the " Acta " of the university ; but a MS.
chronicle of Leipsic, discovered after 1880, of which
the references to musical matters are quoted in the
" Musikalisches Centralblatt " for 1884, has the follow-
ing entry: — "171 6, June. This summer the beautiful
Pauliner organ, which consists of 67 stops, was finished.''
A complete list of the stops follows, but is not given in
the " Musikalisches Centralblatt."

During the concerted music, the organist had to accom-
pany from figured bass, and the voice part was rarely
given him, as the cantor would not trouble to write it
out, though Bach, with his characteristic thoroughness
did so in many cases.

There exists a specimen of Bach's method „ ,,

of playing from figured bass in a MS. accom- fj, /f f

to a violin sonata of Albinoni, by . . ,
H. N. Gerber, a pupil of Bach.^ It contains ^ j. ^/T

pamment i

few autograph corrections by Bach himself, ■'^

^ It is given by Spitta as a supplement to vol. iii. It is worth
noticing that the right hand plays the three upper notes in each chord,
the left only playing the bass ; and this is how harmony exercises are
still written in Germany.

16s

Bach

and it may be taken, therefore, as an example of the
manner which Bach approved of. It is described by
Spitta as of no melodic character, as being in four parts
throughout, and as not adhering strictly to the harmonies
given by Albinoni where an improvement was possible.
The adornment of a figured bass accompaniment by a
melody in the right hand was only possible to the greatest
artists, such as Bach himself; and it soon went out of
fashion.

During the seventeenth century it was the custom for
performers to elaborate the melody written by a composer,
and naturally Bach's were treated in this way. , But it
was complained that he left little for the performer to
add, for he " indicated all the manieren, the small
ornaments, and everything else that is understood by
'Method' in playing, by actual notes," and the per-
former could therefore not impress his own individu-
ality on the piece. ^ Bach was particular to show exactly
what he required ; and it is evident that there was at this
time a school of musicians rising, who objected to super-
fluous ornaments on the part of the performer. J. S.
Petri objects to extemporised shakes and right hand
melodies. Scheibe objects to contrapuntal accompani-
ment. Kirnberger says that the accompanist should aim
at simplicity, and only add such ornaments as were ab-
solutely necessary.

If the pedal was employed, the left hand helped with
the harmonies. But if the bass moved rapidly the pedals
only played short notes to mark the essential harmonic
progressions ; or the bass was even omitted, as the other

' There are organists still living who have not forsaken the ancient
custom of adding small ornaments to the written notes.

l66

Organ-playing

instruments played it. For accompanying the solo voices
in arias and recitatives the Gedact 8 feet was usually used
alone, and was sometimes therefore called the "Musik
gedact " : it is the same as the English stopped diapason.
The chords in a recitative were not held long, even if the
bass notes were. They were played arpeggio, as on a
harpsichord. But Petri considers that if there is a very
soft stopped flute, the chords may be held in the tenor
register and the changes of harmony indicated by a short
pedal note.

Staccato playing was universal on the organ, but Bach
and his pupils insisted on a legato style, and gradually
eliminated the staccato, though in accompanying they
still kept to it. The tradition of Bach's style of accom-
paniment was carried on by Kittel a pupil of Bach,
who spread the knowledge of it through Thuringia,
and one of Kittel's pupils, M. G. Fischer of Erfurt, con-
tinued it. He died in 1829, and was heard by Grell of
Berlin (b. i8oo, d. 1886), who described the performance
to Spitta. He played the bass with considerable power,
and accompanied it by short chords in the right hand on
another manual, thus agreeing with Petri's direction
that the organist is to accompany in as short a style as
possible, and to withdraw the fingers after striking the
chord.

But this was by no means Bach's only method of ac-
companying, for he demands in the majority of cases
a legato accompaniment, and sometimes a " melodic "
manner. In his Matthew Passion and some of his cantatas
the organist is to play short chords in recitativo secco.

He considered the Gedact peculiarly adapted for
purposes of accompaniment ; and in many passages he

167

Bach

dispensed with part or the whole of the bass instru-
ments.

In order not to drown the voices, or make the organ
too prominent, no reeds or mixtures were allowed to be
used in accompanying. They were reserved for solo
organ work, in which Bach made use of astonishing com-
binations of stops. Orchestral effects were produced by
the contrasts of tone-colour in the different groups of
instruments, string, brass, reeds and flutes. To these
the organ, making use of diapason work only, formed a
background, and it was not allowed to predominate over
them.

Bach, in 1730, fixed the number of voices requisite

for the performance of a cantata at twelve, and of in-

_,, , strumentalists, excluding the organist, at

, ^ , eishteen. His sympathies were so much

•1 ^ ■' , J more with mstrumental than vocal music,
tn a cantata ., . , . ^ j ^, . , •

that he treated the voice merely as an m-

strument capable of expressing words. The influence of
Handel's works, in which the voice parts were of more
importance than those of the instruments, brought about
the change of arrangements by which the singers out-
numbered the instrumentalists.

Students and admirers of Bach's music have often
wondered how he could have got boys to overcome the
immense difiSculties of its execution. They certainly com-
plained of the difficulties, but execution was at that
time, owing to the Italian influence, more studied than
now. Boys were made to practise shakes diligently every
day. They were not expected to enter very much into
the spirit of the music ; it sufficed if they sang the
notes correctly. Moreover there were plenty of falsetto

168

Organ Pitch

sopranos and altos, and these could, of course, take the
upper parts. The tenor voice became a soprano, the
bass an alto. A falsetto soprano could sing up to E
and F above the treble stave.

The pitch question at Leipsic must have caused con-
siderable difBculty. The organ at St Thomas' Church
was a tone higher than that of St Nicholas,^ „, . . ,
and many of the cantatas have the organ , ^

(continuo) parts in two keys, for the two •' °
oi^ans. There must have been a separate set of string
and wind instruments for each church ; for the frequent
alterations of strings by so great an interval as a tone
would hardly conduce to good intonation.

There were in fact two recognised pitches in use,
called chorus pitch and chamber pitch. Of these the
chamber pitch was used for ordinary orchestral per-
formances, and was a tone lower than the chorus pitch,
to which the organ was usually tuned. This would
cause no inconvenience if the orchestras were not used
in the churches ; but it is very strange that such a
troublesome arrangement should have been allowed to
continue after it had become the custom to employ the
orchestra every Sunday.

^ This is referred to by Berlioz in his " Instrumentation." Organ
builders would frequently use the higher pitch to save the expense
of the largest pipes, unless carefully watched.

169

Chapter XIV

Bach as " Familien-Vater " — As a choirmaster — His eagerness to learn all
that was new and of value in music — He finds time to conduct public
concerts — His self-criticism — Bach was never a poor man — His re-
putation was gained by his playing rather than compositions-
Portraits — Public monuments.

One often hears in Germany the expressions " Familien-
Vater," " Haus-Vater," applied as terms of special com-
mendation to public men, in the sense that their private
life is of estimable character, that they do their duty well
by their families instead of spending their whole energy
in accumulating money or fame. To no artist could
these terms be more fittingly applied than to the subject
of this memoir. We have seen that he was unremitting
, in his efforts to give his sons and pupils the

^' .^? best possible education, and helped them
am ten- fQi-^yard in every way he could when they
^ *'' entered their professions, and how he

secretly obtained a post for his son-in-law, Johann Chris-
toph Altnikol, as a kind of wedding-present. Forkel
says he was a "vorzilglich guter (particularly excellent)
Uaus- Vater, Freund (Friend) und Staatsburger (Citizen).
His company was pleasant to everyone, whether a
stranger or an intimate, and anyone visiting him was
sure of a courteous reception, so that his house was
seldom without guests."

170

Bach as Choirmaster

An interesting feature in his private life is his choice
of persons to act as god-parents to his children. They
were seldom his own relations, but persons „, . /
of distinction, who might be able to help „ -^
the children on in their subsequent career. ^
Among them were Bach's great friend, Prince Leopold
of Cothen, his brother Prince August Ludwig, his sister
Princess Elenore, Privy Councillor Von Zanthier, Dr
Gilmar, one of the chief men in the church at Miihl-
hausen ; Gesner, rector of the Thomas School. Though
far from seeking wealth, Bach was sufficiently a man of
the world to see the value of ensuring a respectable
position both for himself and his sons by any legitimate
means in his power.

As a choirmaster Bach seems to have been a failure.

He was far too irritable to be able to control boys,

and the task was evidently extremely dis- „ ,

^.riiu- rt^-i. I. I. Bach as

tasteful to him. Though he was sym- , .

pathetic in the extreme with those who

were in earnest in matters of art, it is very clear

that he had not the tact and patience required for

elementary teaching. One can well imagine how the

stupidity and incompetence of many of the boys who

came under him must have galled his ardent nature;

and he was quite unfit to be a schoolmaster. Yet it is

evident that he gained the confidence of some boys from

the fact of his having trained them to assist him in the

orchestra.

Of his own boyhood at Liineberg a remarkable story is

told to the effect that when his voice broke he for some

days spoke and sang in octaves. It is of course quite

conceivable on acoustical grounds that the first harmonic

171

Bach

may have been prominent enough to be heard with
the fundamental note ; and that he, being a musician,
observed a phenomenon which would escape an ordinary
boy.

Throughout his life he was ever eager to become
acquainted with everything new that was of any value.
New organs, new compositions, newly-invented instru-
ments, were all a source of interest to him. Thus,
Bach's directly Silbermann of Freiburg had made a

eagerness to ^^^ °^ ^'^ " fo^tepianos " in imitation of the
,* ,, new invention of Cristofori, Bach was eager

KTIOTV all

th tw *° ''■^ them. But the hammerlike blow

required was quite foreign to Bach's method
of playing, in which the fingers were always
kept as close as possible to the keys ; and though he
praised the tone, he rather freely condemned the touch.
Silbermann was exceedingly angry and would not have
anything to do with Bach for a long time ; but he, never-
theless, set to work to improve the touch, and after some
fifteen years of patient labour succeeded in producing the
satisfactory instruments which Bach played on at Potsdam
shortly before his death. Hilgenfeldt considers that the
general use of the pianoforte took its origin from these
perfected instruments.

In the midst of all his occupations Bach found time to
conduct pubUc concerts, of which Hilgenfeldt quotes the
following advertisement :

"Notice of the Musical Concerts at Leipsic."

" The two public musical concerts or assemblies,
which are held here every week, are still flourishing.

172

Self-Criticism

One is directed by Herr John Sebastian Bach, Capell-
meister to the Grand-duke of Weissenfels, „ ...

Music director of the Churches of St Thomas
and St Nicholas; and it takes place in the
Coffee-house of Zimmermann, in Catherine Street, every
Friday evening from 8 to i o o'clock ; but during the
Fair twice a week, namely, Tuesdays and Fridays. The
members of these musical concerts consist for the most
part of students, and there are always good musicians
among them, so that often, as is known, some of them
become in time celebrated performers. Every musician
is allowed to perform publicly in these musical concerts,
and there are usually some among the audience who are
able to judge the value of a competent musician."

Bach was a severe critic of his own works. Hilgenfeldt
tells us that many of those which did not come up to his
ideal of what they should be were cast aside „ .,

by him, and that such of his youthful works as .^. .•''

he considered worth keepmg were constantly
improved by him and brought to a higher standard.
Thus, the first movement of the third organ sonata,
which originally belonged to the Wohltemperirte Clavier,
was altered to the extent of having large portions cut out,
and others essentially changed and improved, so that
phrases of small significance obtained an importance of
which no signs appeared in the earlier composition.

He reserved his teaching for those who could really
profit by it, and if he found that a pupil had not sufficient
talent, he would, with every kindly courtesy, recommend
him not to seek his living by music. The „ ,.
result was that a strong feeling for the dignity °'^ "^^

and value of art was spread by his pupils, who for the

173

Bach

most part attained to important positions in their pro-
fession. One of his pupils, Doles, whose name had a
place of honour in the old Gewandhaus at Leipsic, was
Cantor of St Thomas for thirty-four years (after the death
of Harrer), and was held in great esteem as a teacher and
composer.

Though at no time rich, Bach was never a poor man.
A sood '^^^ various payments in kind, such as rent-

standins ^"^^^ dweUing, garden produce, etc., were al-
alwavs "'°^'' ^"^'^'^^^"'^ *° support him, and to make

maintained ^"^ '^^^"^ ""^ff^^l ^^T ^elf-improvement, for
journeys, and for the education of his children.
And that he was able to collect more than eighty theo-
logical works, at a time when books were an expensive
luxury, and that he could give no less than three clavi-
chords with pedals at once to his son, Joh. Christian,
shows that his position was one of comfort.

Though the Council and the Leipsic Chronicle took
little notice of his death, it appears that the Society
n . . founded by Mizler caused a funeral ode by

I- J jz. the then rector, Dr Ventzky, to be set to
on hts death . , r j j . ■. i_

music and performed ; and he seems to have

been much mourned outside Leipsic, as the chief support
of serious German music.

Not as a composer, but as a performer, however, was he
mourned. It was reserved for later generations to fully
appreciate what Hilgenfeldt describes as the " spiritual and
everlasting " side of his genius. In those days the com-
poser and performer were one and the same person. No
one was considered an artist who could only perform, how-
ever well, if he could not also compose ; and, especially
on the organ, good improvisation was considered the chief

174

Portraits and Statues

qualification of a musician. He was expected to be in a
position to extemporise at any time and under any con-
ditions a fugue, or a set of variations on any theme given
to him ; and his ability in this respect was the criterion
by which he was judged. It was natural, therefore, that
Bach's fame during his lifetime should rest more on his
extempore performances than on his written compositions,
which, remaining in manuscript, would probably serve
chiefly as models for his pupils to work from.

Four portraits of Bach are known to "have been painted.
One, which seems to have been the first, is a half length
picture showing him in a dress coat of the „ . .,

fifth decade of the eighteenth century. It j c . ^
u 1 J . Tr-^ 1 J 1 i u u- ««» Statues

belonged to Kittel, and was kept by him as

a kind of sacred possession, only to be shown on special

occasions, or as a reward to a diligent pupil. It was in

a massive gold frame, and hung behind a curtain over

the harpsichord in Kittel's study. On his death it came

into the possession of the church of which he was

organist.

The second was also a half-length, and belonged to
his son Carl Philip Emanuel. It was painted by Haus-
mann.

The third, also by Hausmann, is shown in our frontis-
piece. It is preserved in the Thomas School, and,
according to Becker, was painted on his becoming a
member of the Leipsic Musical Society. A fourth,
preserved in the Joachimsthal Gymnasium at Berlin, was
formerly in the possession of Princess Amalie of Prussia,
and seems to have been painted by Geber.

A few good copper engravings were made from the
various portraits, and a number of bad lithographs from

I7S

Bach

the engravings. Some successful plaster busts have also
been made from the pictures.

Germany is much given to honouring those of her sons
who have distinguished themselves in art by erecting
memorials to them in public places : but not till nearly
one hundred years after his death was such a monument
thought of for Bach. In 1840, Mendelssohn gave an
organ recital in the Thomas Church, with the object of
opening a fund for this purpose with the proceeds, and
on April 23, 1843, a medallion by Knauer was solemnly
unveiled on the walls of the Thomas Church. The
opportunity was taken of performing many of Bach's
compositions ; and amongst those present was the last
descendant of the great man, with his wife and two
daughters. This was William Bach, then 81 years of
age, a son of the Biickeburger Bach.

In 1864 a large new organ was erected in the New
Church at Arnstadt " in honour of Johnn Sebastian Bach,"
containing his portrait over the keyboards: and in 1884
a Bach festival was held at Eisenach on the occasion of
the unveiling of a fine bronze statue of the composer in
the Market-place.

176

Catalogue of Bach's Vocal Works

Matthew Passiotk First performed, 1729. English edition,

Novello.
St John Passion. Probably written at Cothen, and much

altered before it received its present form. English

edition, published by Novello.
St Luke Passion. Of doubtful authenticity. English edition,

Novello.
Mass in B minor.

» F-

„ A. Wntten m 1737. Partly borrowed from other

works.
Mass in G minor. \ a j,„t^j f,„„ »»»„.,

„ G major.) ^^^^^^^^^°^''^^^^^^^-
These four " Missas breves " contain the Kyrie and Gloria, the

only part of the Mass retained in the Lutheran Service in

Latin.
Magnificat in D. Written for the Christmas Festival at St

Thomas' Church, and sung at vespers after the sermon.

Edition with English words, Novello. It is for five voices,

three trumpets, two flutes, two oboes, strings and organ.

Sanctus in C. \ c /v .^t.

Tp / Sung after the mornmg sermon, as an

" n'^.^o^ r introduction to the Communion Ser-

,, u minor, i

;; G. ) ^"=«-

CHURCH CANTATAS

The numiers refer to the Bachgesellschaft Edition.

2 Ach Gott vom Himmel sieh darein. Second Sunday
after Trinity. Chorale Cantata.

M 177

Bach

3 Ach Gott, wie manches Herzeleid. Second Sunday after

Epiphany. Chorale Cantata.
58 Ach Gott, wie manches Herzeleid. Second Sunday after

Christmas. Solo Cantata for soprano and bass.
135 Ach Herr, mich armen SUnder. Third Sunday after

Trinity. Chorale Cantata, Leipsic.
162 Ach, ich sehe, itzt, da ich. Twentieth Sunday after

Trinity.
114 Ach, Ueben Christen, seid getrost. Seventeenth Sunday

after Trinity. Chorale Cantata.
26 Ach wie fliichtig, ach wie nichtig! Twenty-fourth

Sunday after Trinity. Chorale Cantata.
33 Allein zu dir, Herr Jesu Christ. Thirteenth Sunday

after Trinity. Chorale Cantata.
72 Alles nur nach Gottes Willen. Third Sunday after

Epiphany.
68 Also hat Gott die Welt geliebt. Tuesday in Whitsun-
week. English edition, " God so loved the World," Novello.
42 Am Abend aber desselbigen Sabbaths. First Sunday

after Easter (Quasimodogeniti).
186 Arg're dich,o Seelenicht. Seventh Sunday after Trinity.
128 Auf Christi Himmelfahrt allein. Ascension Day.
131 Aus der Tiefe rufe ich, Herr, zu dir. Composed for Dr.
G. C. Gilmar, Pastor of Miihlhausen.

38 Aus iiefer Noth schrei ich zu dir. Twenty-first Sunday
after Trinity. Chorale Cantata.

131 Aus tiefer Noth schrei ich zu dir. Composed at Miihl-
hausen about 1707.

185 Barmherziges Herze, der. Fourth Sunday after Trinity,

132 Bereitet die Wege, bereitet. For no special season.
Weimar, 1715. Words by Salomo Franck.

87 Bisher habt ihr nichts gebeten in meinem Namen. Fifth

Sunday after Easter.
6 BleiV bei uns, denn es will Abend. Tuesday in Easter
Week. English edition, "Bide with us," Novello.

39 Erich dem Hungrigen dein Brot ! First Sunday after
Trinity.

148 Bringet dem Herm Ehre. Seventeenth Sunday after
Trinity.

178

Cantatas

63 Christen, ateet diesen Tag. Christmas.
4 Christ lag in Todesbanden. Easter Day.

121 Christum wir sollen loben schon. Christmas. Chorale
Cantata.

7 Christ unser Herr gum Jordan kam. St John's Day.
Chorale Cantata.
95 Christus, der ist mein Leben. Sixteenth Sunday after

Trinity.
141 Das ist je gewisslich wahr. Third Sunday in Advent.

122 Das neu gebor'fte Kindelein. First Sunday after Christ-
mas. Chorale Cantata.

40 Dazu ist erscheinen der Sohn. Christmas.

195 Dem Gerechten muss das Licht. Wedding Cantata.

1 5 Denti du wirst meine Seele nicht in HMe lassen. Mon-
day in Easter Week. Composed at Amstadt, probably in
1704. See p. 27.
157 Der Friede sei mit dir. Purification ; also for Easter.

196 Der Herr denket an uns. Wedding Cantata.

112 Der Herr ist mein getreuer Hirt. Second Sunday after

Easter (Misericordias).
31 Der Himmel lacht, die Erde jubiliret. Monday in
Easter Week. One of the few cantatas containing a
chorus for five voices. The instrumental introduction
is called "Sonata."

75 Die Elenden sollen essen. First Sunday after Trinity.

76 Die Himmel erzahlen die Ehre. Second Sunday after
Trinity.

1 16 Du PriedensfHrst, Herrjesu Christ. Twenty-fifth Sun-
day after Trinity. Chorale Cantata.

104 Du Hirte Israel, hore. Second Sunday after Easter
(Misericordias). English edition, " Thou Guide of Israel,"
Novello.

77 Du sollst Gott, deinen Herren, lieben. Thirteenth Sunday
after Trinity.

23 Du wahrer Gott und Davids Sohn. Quinquagesima
(Estomihi).

Ehre sei dir Gott gesungen. Part V. of Christmas
oratorio. English edition, Novello.

Ehre sei Gott in der H'ohe. Christmas. Incomplete.

179

Bach

80 Ein feste Burg ist unser Gott. Reformation Festival,
English edition, "A Stronghold Sure," Novello. Com-
posed 1717, when Bach went to Cothen. This was the
first cantata published in the nineteenth century. It
was also arranged to Latin words, beginning, " Gaudete,
omnes populi."
134 Ein Herz, das Seinen. Wednesday in Easter Week.
Cothen, between 1717 and 1723.

24 Ein ungefdrbt Gemiithe, Fourth Sunday after Trinity.
136 Erforsche tnich Gott, und erfahre. Eighth Sunday after

Trinity. Leipsic, 1737 or 1738.
66 Erfreut euch, ihr Herzen ! Tuesday in Easter Week.
83 Erfreute Zeit im neuen Bunde. Purification.
126 Erhalt' uns, //err, bet deinem Wort. Sexagesima.

Chorale Cantata.
173 Erhbhtes Fleisch und Blut. Tuesday in Whitsun- week.
The music was originally written for a Serenade for the
birthday of Prince Leopold of Cothen. The MS-
Serenade is in the Royal Library at Berlin.

175 Er rufet seinen Schafen mit. Wednesday in Whitsun-
week. Solo Cantata for tenor and bass.

T73 ErschcUlet, ihr Lieder. Whitsunday.
184 Erwiinschtes Freudenlicht. Wednesday in Whitsun- week.
19 Es erbub sick ein Streit. Michaelmas Day.
9 Es ist das Heil uns kommen her. Sixth Sunday after
Trinity.
45 Es ist dir gesagt, Mensch, was gut ist. Eighth Sunday
after Trinity.

176 Es ist ein trotzig und verzagt Ding. Trinity Sunday.
108 Es ist euch gut, doss ich hingehe. Fourth Sunday after

Easter (Cantata).

25 Es ist nichts Gesundes an meinem Leibe. Fourteenth
Sunday after Trinity. Edition with English words, " Lo,
there is no soundness within my body." Rieter-Bieder-
mann.

90 Es reifet euch ein schrecklich. Twenty-fifth Sunday

after Trinity.
187 Es wartet Alles auf dich. Seventh Sunday after
Trinity, 1737. Music is used for Mass in G minor.

180

Cantatas

Fallt mit Danken. Part IV. of Christmas oratorio.
English edition, Novello.

52 Falscke Welt, dir trau. Twenty-third Sunday after
Trinity. Solo Cantata for soprano.

30 Freue dtcA, erloste Schaar. St John's Day, originally a
"Dramma per Musica" in honour of the Saxon Minister,
Von Hennicke. Composed in 1737, and arranged as a
church cantata, 1738, after Bach had received the title of
Court Composer. It is in the " Lombardic " style intro-
duced by Vivaldi, consisting of frequent syncopation.

35 Geist und Seele wird. Twelfth Sunday after Trinity.

129 Gelobet set der Herr, mein Goit. Trinity Sunday.

91 Gelobet seist du, Jesus Christ. Christmas. Chorale
Cantata. Words by Martin Luther.

18 Gleich wie der Regen und. Sexagesima. The orches-
tration is unusual, consisting of four violas, fagotto,
violoncello and organ.

191 Gloria in excelsis Deo. Christmas. Rearranged from
the B minor Mass.

79 Gott der Herr, ist Sonri undSchild. Reformation Festival .

106 Gottes Zeit ist die allerbeste Zeit. For no special season.
English edition, "God's time is the best," Novello.
Called "Actus tragicus," probably a funeral cantata.
Mtihlhausen about 1708.

43 Gottfdhret aufmit Jauchzen. Ascension Day. English
version, " God goeth up with shouting," Novello.

71 Gott ist mein Konig. Election of Town Council at

Miihlhausen, 1708. See p. 36.
191 Gott ist un^re Zuversicht. Wedding Cantata.

28 Gottlob! nun geht das Jahr. First Sunday after

Christmas.
120 Gott, man lobet dich in det Stille. Election of Town
Council at Leipsic. In the score the letters J.J. (Jesu
juva) frequently occur.
169 Gott soil allein mein Herze. Eighteenth Sunday after

Trinity. For alto solo.
171 Gott, wie dein Name, so ist auch dein Ruhm. Circum-
cision. The first chorus occurs with modifications as
part of the "Credo" of the B minor Mass.

181

Bach

67 Half im Geddchtnis Jesum Christ. First Sunday after
Easter (Quasimodogeniti). Edition with English words,
"Hold in remembrance Jesus Christ," Rieter-Bieder-
mann.
96 Herr Christ, der ein'ge Gottes Sohn. Eighteenth Sunday
after Trinity. Chorale Cantata. Words by Elizabeth
Creutzinger.
103 HeTT, deine Augen sehen nach dent. Tenth Sunday after

Trinity.
105 Herr, gehe nicht iris Gericht. Ninth Sunday after
Trinity.
Herr Gott, Beherrscher alter Dinge. Wedding Cantata.
Incomplete.
130 Herr Gott, dich loben alle wir. Michaelmas Day.
16 Herr Gott, dich loben wir. Circumcision. ' Chorale

Cantata.
113 Herr J esu Christ, du hochstes Gut. Eleventh Sunday

after Trinity. Chorale Cantata.
127 Herr Jesu Christ, wahr'r Mensch und Gott. Quinqua-
gesima (Estomihi). Chorale Cantata.
Herrscher des Himmels. Part 1 1 1, of Christmas oratorio.
English edition, Novello.

Herr, wenn die stolzen Feinde schnauben. Part VI. of
Christmas oratorio. English edition, Novello.
73 Herr, wie du willt, so schicfis mit mir ! Third Sunday

after Epiphany.
147 Herz und Mund und That iind Leben. The return of

Mary from Egypt.
182 Himmelskbnig,seiwillkominen. Annunciation. Origin-
ally composed for Palm Sunday.
194 Hochst erwiinschtes Freudenfest. Dedication of the

organ at Stormthal.
55 Ich armer Mensch, ich Siindenknecht. Twenty-second

Sunday after Trinity. For tenor solo.
85 Ich bin ein guter Hirt. Second Sunday after Easter

(Misericordias).
84 Ich bin vergniigt mit meinem Gliicke. Septuagesima.
48 Ich elender Mensch wer wird mich. Nineteenth Sunday
after Trinity.

182

Cantatas

133 Ich freue mich in dir. Christmas. Chorale Cantata.

Leipsic, 1737.
49 Ich geK und suche mit. Twentieth Sunday after Trinity.
109 Ich glaube liebet Herr, hilf meinem. Twenty-first

Sunday after Trinity.
82 Ich habe genug. Purification.
188 Ich habe meine Zuversicht. Twenty-first Sunday after

Trinity. The copyist directs that the "organ concerto"

of " Wir mussen durch viel Trubsal " in D minor (arranged

from the Clavecin Concerto in that key) is to be used as

an " introduction." Words by Picander.
92 Ich haV in Gottes Herz und Sinn. Septuagesima.

Chorale Cantata. Words by Paul Gerhardt.
2 1 Ich hatte viel Bekiimmemis. " Per ogni tempi," " For all

times." English edition, "My spirit was in heaviness,"

Novello. Composed on his being made concert-meister

at Weimar, and performed there on the third Sunday

after Trinity, 17 14.
162 Ich, ich sehe,jetzt da ich zur Hochseitgehe. Solo Cantata

for soprano, alto, tenor, bass. '
158 Ich lasse dich nicht, du segnest. Purification. Solo

Cantata for tenor and bass. The violetta occurs in the

score.
174 Ich Hebe den HSchsten von ganzem. Whitsunday. Solo

Cantata for alto, tenor, bass.
177 Ich ruf zu dir, Herr Jesu Christ. Fourth Sunday after

Trinity. Chorale Cantata.
1 56 Ich steK mit einem Fuss im Grabe. Third Sunday after

Epiphany.
160 Ich Weiss, dass mein Erloser. Monday in Easter Week.
56 Ich will den Kreuzstab geme tragen. Nineteenth Sun-
day after Trinity. For bass solo.
164 Ihr, die ihr euch von Christo. Thirteenth Sunday after

Trinity. Solo Cantata for soprano, alto, tenor, bass.
167 Ihr Menschen, riihtnet Gottes. St John's Day. Solo

Cantata for soprano, alto, tenor and bass.
193 Ihr Pforten zu Zion. Election of Town Council.
103 Ihr werdet weinen und heulen. Third Sunday after

Easter (Jubilate).

183

Bach

97 In alien meinem Thaten. For no special season. Words

by Dr Paul Flemming.

Jauchzet, frohlocket. Christmas oratorio. Part I.,

English version, Novello.
51 Jauchzet Gott in alien Landen. Fifteenth Sunday after

Trinity. Solo Cantata for soprano.
78 Jesu, der du meine Seele. Fourteenth Sunday after

Trinity. In this cantata the ground bass of the "Cruci-

fixus " of the B minor Mass is used. Edition with English

words, "Jesu, Saviour, who by dying," Rieter-Bieder-

mann,
41 Jesu, nun set gepreiset. Circumcision. Chorale Cantata.

English edition, "Jesus, now will we praise Thee,"

Novello.
22 Jesus nahm zu sick die Zwolfe. Quinquagesima (Esto-

mihi). Bach's test piece for the Leipsic post after the

death of Kuhnau. Performed there, February 7th, 1723.
81 Jesus schldft, was soil ich hoffenf Fourth Sunday after

Epiphany.
161 Komm du siisse Todesstunde ! Purification ; also for the

Sixteenth Sunday after Trinity.
Kommt, eilet, lauft. Easter oratorio.
181 Leicht gesinnte Flattergeister. Sexagesima.
8 Liebster Gott, wann werd? ich sterben. Sixteenth Sunday

after Trinity.
123 Liebster Immanuel, Herzog der Frommen. Epiphany.

Chorale Cantata.
32 Liebster Jesu, mein Verlangen. First Sunday after

Epiphany. Called " Dialogue." Solo Cantata for soprano

and bass.
137 Lobe den Herren, den Mdchtigen. Twelfth Sunday after

Trinity. Leipsic, between 1742 and 1747. Words by

Joachim Neander.
69 Lobe den Herm meine Seele! Twelfth Sunday after

Trinity.
143 Lobe den Herrn meine Seele. New Year's Day.
1 1 Lobet Gott in seinen Reichen. Ascension Day. Called

by Bach "oratorium festo ascensionis Christi." Part of

this cantata is used in the B minor Mass.

184

Cantatas

115 Mache dich, mein Geist, bereit. Twenty-second Sunday

after Trinity. Chorale Cantata.
149 Man singet mit Freuden vom Sieg. Michaelmas Day.

124 Meinen Jesum lasi ich nicht. First Sunday after Epi-
phany. Chorale Cantata.

10 Meine SeeP erhtbt den Herren. Return of Mary from

E^pt. Chorale Cantata.
189 Meine Seele rUhmt undpreist. For no special season.
13 Meine Seu/zer meine Thrdnen. Second Sunday after

Epiphany. Solo Cantata for soprano, alto, tenor and

bass voices, accompanied by wind instruments and organ,

no strings being used.
155 Mein Gott, ivie lang". Second Sunday after Epiphany.
154 Mein liebster Jesus ist verloren. First Sunday after

Epiphany.

125 Mit Fried' und Freud' ich faht' dahin. Purification.
Chorale Cantata.

I JO Nach dir, Herr, verlanget mich. For no special season.
loi Nimni von uns Herr, du treuer Gott. Tenth Sunday

after Trinity. Chorale Cantata.
144 Nimm, was dein ist, und gehe hin / Septuagesima.
192 Nun danket alle Gott. For no special season.
50 Nun ist das Heil und die Kraft. For no special season.

61 Nun komm, der Heiden Heiland. First Sunday in
Advent. First composition in A minor. Inside the
cover of this cantata Bach has written the order of the
service for the morning of Advent Sunday, 1714, at
Leipsic. See p. 44.

62 Nun kotnm, der Heiden Heiland. First Sunday in
Advent. Chorale Cantata. Second composition in B
minor.

163 Nur Jedem das Seine! Twnenty- third Sunday after
Trinity. Solo Cantata for soprano, alto, tenor and bass.

34 O ewiges Feuer, o ursprung der Liebe. Whitsunday.
English edition, "O Light Everlasting," Novello.
O ewiges Feuer. Wedding Cantata. Incomplete.

20 O Ewigkeit du Donnerwort. First Sunday after Trinity.

60 O Ewigkeit du Donnerwort. Twenty-fourth Sunday after
Trinity. Solo Cantata for alto, tenor and bass.

185

Bach

165 O heiVges Geist und Wasserbad. Trinity Sunday. Solo
Cantata for soprano, alto, tenor, bass.

118 O Jesu Christ mein's Lebenslicht. The accompaniment
is for two litui, cornet and three trombones ; no strings
or organ. It was probably intended for the open air
(perhaps for a funeral) as it is the only cantata with no
continuo part.

119 Preise Jerusalem den Herm. Performed in the Nicolai
Church on August 30, 1723, at the election of Town
Council. It was also performed by Mendelssohn on the
unveiling of the Bach Memorial at Leipsic, April 23, 1843.

46 Schauet dock und sehet. Tenth Sunday after Trinity.
153 Schau' Hebe Gott luie tneine Feinde. Second Sunday
after Christmas.
53 Schlage dock ! gewiinschste Stunde. Funeral Cantata

for alto solo.
180 Schmiicke dick Hebe Seele. Twentieth Sunday after

Trinity. Chorale Cantata.
36 Schwingtfreudig euch empor. First Sunday in Advent.

64 Sehet welcK eine Liebe. Christmas.

159 Sehet, wir geKnhinauf. Quinquagesima (Estomihi).
117 Sei Lob undEht' dem hochsten Gut. For no special season.
57 Selig tst der Mann. Christmas. Solo Cantata for

soprano and bass.
88 Siehe ich will viel Fischer. Fifth Sunday after Trinity.
179 Siehe zu dass deine Gottesfurcht nicht. Eleventh Sun-
day after Trinity.

65 Sie warden aus Saba alle kommen. Epiphany. Edition
with English words, "They all shall come from Saba,"
Rieter-Biedermann.

44 Sie werden Euch in den Bann thun. Sunday after
Ascension Day (Exaudi).

183 Sie werden Euch in den Bann thun. Sunday after
Ascension Day (Exaudi).

190 Singet dent Herrn ein neues Lied. Circumcision. In-
complete. Performed 25th of June 1730, at the second
Jubilee celebration of the Augsburg Confession.

145 So du mit deinem Munde bekennest. Easter Day, and
Wednesday in Easter Week.

186

Cantatas

151 Siisse Trost, mein Jesu kommt. Christmas.

168 Thue Rechnung Donnerwort. Ninth Sunday after
Trinity. Solo Cantata for soprano, aho, tenor, bass.

1 52 Tritt auf die Glaubetis Bahn. First Sunday after Christ-
mas.

Und es waren Hirten auf dem Felde. Part II. Christmas
oratorio. English edition, Novello.
no Unser Mund sei voll Lachens. Christmas.
142 Ujts ist ein Kind geboren. Christmas.
170 VergnUgte RuK beliebte. Sixth Sunday after Trinity.

For alto solo.
140 Wachet auf, ruft tins die Stimme. Twenty-seventh
Sunday after Trinity. Leipsic, 1742. Words by P.
Nicolai.
70 Wachet, betet, seid bereit allezeit. Twentieth Sunday

after Trinity.
86 Warlich ich sage euck. Rogation Sunday.
1 4 War' Goti nicht mit uns diese Zeit. Fourth Sunday after
Epiphany.
138 Warum betriibst du dick mein Herz. Fifteenth Sunday

after Trinity. Leipsic, 1737. Words by Hans Sachs.
94 Was frag' ich nach der Welt ! Ninth Sunday after
Trinity. Chorale Cantata.

98 Was Gott thut das ist -wohlgethan. Twenty-first Sun-
day after Trinity.

99 Was Gott thut, das ist wohlgethan. Fifteenth Sunday
after Trinity.

100 Was Gott thut, das ist wohlgethan. For no special

season. Words by S. Rudigast.
Ill Was mein Gott will das £sche alV zeit. Third Sunday

after Epiphany. Chorale Cantata.
89 Was soil ich aus dir machen. Twenty-second Sunday

after Trinity.
107 Was willst du dich betruben. Seventh Sunday after
Trinity.
12 Weinen, klagen, sorgen, zagen. Third Sunday after
Easter (Jubilate). The opening chorus is on the same
ground bass as the " Crucifixus" of the B minor Mass.
37 Wer da glaubet und getauft wird. Ascension Day.

187

Bach

17 Wer Dank opfert der preiset mich. Fourteenth Sunday

after Trinity. Edition with English words, "Whoso

offereth praise," Reiter-Biedermann.
59 Wer mich liebet der wird mein. Whitsunday.
74 Wer mich liebet der wird mein. Whitsunday. Solo

Cantata for soprano and bass.
93 Wer nur den lieben Gott lasst walten. Fifth Sunday

after Trinity.
47 Wer sick selbst erJtiibt der soil. Seventeenth Sunday

after Trinity.
27 Wer Weiss wie nahe mir mein Ende. Sixteenth Sunday

after Trinity. English edition, "When will God recall

my spirit, Novello.
54 Widerstehe dock der SUnde. For no special season.

Alto solo.
I Wie ScMn leuchtei der Morgenstern. Annunciation.

Chorale Cantata.
29 Wir danken dir, Gott, wir danken dir. Election of Town

Council at Leipsic, 1737.
146 Wir mUssen durch viel TrUbsal. Third Sunday after

Easter (Jubilate).
166 Wo gehest du kin? Fourth Sunday after Easter (Can-

tate). Solo Cantata for alto, tenor, bass.
178 Wo Gott der Herr nicht bei uns halt. Eighth Sunday

after Trinity. Chorale Cantata.
139 Wohl dem der sick auf seinem Gott. Twenty-third

Sunday after Trinity. Chorale Cantata, Leipsic, between

1737 and 1 744.
5 Wo soil ich fliehen hin. Nineteenth Sunday after

Trinity. Chorale Cantata.

FUNERAL ODE

Lass, Fiirstin, lass noch einen Strahl. Called "Weeping
Leipsic." Written for the death of Princess Christiane
Eberhardine, wife of Augustus the Strong.

MOTETS
Jesu meine Freude. Five voices. English edition, "Jesu,
priceless treasure," Novello. A hymn by Franck in six
stanzas.

188

Secular Cantatas

Der Geist hilft unsrer Schivachheit auf. Eight voices. Written
for the funeral of the Rector Heinrich Emesti, 1729.
The composer added a figured bass for the organ. Eng-
lish edition, "The Spirit also helpeth us," Novello.

Furchte dich nicht. Eight voices. English edition, " Be not
afraid," Novello.

Komm /esu, komm. Eight voices.

Lob und Ehre und Weisheit und Dank. Eight voices. Eng-
lish edition, " Blessing, Glory and Wisdom," Novello.

Singet dem fferm ein neues Lied. Psalm 149, eight voices.
English edition, •' Sing ye to the Lord," Novello.

Ich lasse dich nicht. Eight voices. This motet is by some
attributed to Joh. Christoph Bach. English edition, " I
wrestle and pray," Novello.

A Latin motet for two choruses heard by J. L. Gerber at
Christmas, 1 767, is lost.

I^bet den Herm, alle Heiden. Psalm 1 17. Four voices.

SECULAR CANTATAS

Drama: Geschwinde, ihr nvirbelnden Winde. The contest

between Phosbus and Pan.
Weichet nur, betriibte Schatten. For soprano voice.
Amore traditore. For bass voice, accompanied by cembalo

only.
Drama : Zerreisset, zerspringet, ZertrUmmert die Gruft. For

the name-day of Dr A. F. MuUer. Leipsic, Aug. 3, 1725.
Drama : Schleichi, spielende Wellen. For the birthday of

Augfustus III.
Drama : Vereinigte Zwietracht der wechselnden Saiten. For

a University celebration, Leipsic, 1726.
Was mir behagi, ist nur die muntre Jagd.
Non scu:he sia dolore. For soprano solo.
O holder Tag, erwUnschte Zeit. Wedding Cantata for soprano

solo.
Schweigt stille, plandert nicht. In praise of coffee.
Mer hahn en neue Oberkeet. Complimentary Cantata to Carl

Heinrich von Dieskan.
Mil Gnaden bekrone der Himmel die Zeiten.

189

Bach

O angenekme Melodei. Soprano solo.

Durchlauchster Leopold. Serenade for two solo voices and
orchestra.

Schwingt freudig euch empor. For the birthday of a teacher.

Die Freude reget sick. For the birthday of Professor Rivinus.

Drama : Lasst tens sorgen, lasst tens ivachen. Complimentary
Cantata to a Saxon Princess. The opening chorus from
Christmas oratorio.

Tonetihr Pauken! ersckallet Trompeten ! For the birthday
of the Queen of Saxony, December 1733. See p. 145.

Drama : Preise dein GlUcke. For the anniversary of the elec-
tion of Augustus 111. as King of Poland, 1734.

Drama : Angenehthes wiederan. Persons represented — Fate,
Happiness, Time, and the river Elster. The opening
chorus from the cantata " Freue dich erioste Schaar."

Drama : Auf schmettemde Tone der muntem Trompeten. For
the name-day of King Augustus III.

WORKS KNOWN TO BE LOST

Three Passions. It is known that Bach wrote five Passions,
from information given by his son C. P. Emanuel, and his
pupil Agricola in Miller's Necrology.

A great funeral ode on the death of Prince Leopold of
Cothen.

Several Cantatas.

190

Catalogue of Instrumental Works

ORGAN

The numbers refer to the volumes in Peters' edition in which
each work will be found.

Six sonatas for two manuals and pedal (240). These sonatas
and the passacaglia were written for his young son, W.
Friedemann, to practise on the pedal clavichord. Many
of the trills, which are necessary on this instrument, are
intended to be omitted when the pieces are played on the
organ. According to tradition the date is 1723. The
first movement of the sonata in D minor appears in 1722,
as the prelude in that key in Part I. of the Forty-eight.

Passacaglia in C minor (240).

Trio for two manuals (243) and pedal in D minor. This trio
is overladen with grace notes in the fashion of the day.
The performer is recommended by Griepenkerl to exer-
cise his taste as to which he retains or omits.

Pastorale in F (240). In four movements. Mostly copied
singly. Forkel possessed a copy in which all four move-
ments were combined in a whole.

Preludes and Fugues (241).

InC.

In G. The subject of the fugue Is the same as that of the
opening chorus in the cantata, "Ich hatte viel Bekiim-
mernis."

In A.

Fantasia and Fugue in G minor (241). Composed at Cothen,
probably as an act of hotnage to Reinken. In one copy
' the fantasia is called " prelude." In another copy the
fugue is in F minor with a remark, " The very best pedal-
piece by Herr Joh. Seb. Bach."

191

Bach

Prelude and Fugue in C (241).

A minor.

E minor.

B minor. The Peters' edition is from the original MS. in the
possession of Sir Herbert Oakeley.

Prelude and Fu^e (242) E flat. From the " Clavierilbung."
The fugue, hke those of Buxtehude, is in three movements.

Toccata and Fugue (242) in F. The compass of the pedals in
this toccata shows that it must have been written for the
organ in the Lutheran Church at Cothen. (See Glossary
" Orgelbuchlein.") In the Bachgesellschaft edition the
toccata is called fantasia.

In D minor. Called Dorian from the flat being omitted from
the signature. The toccata is called "prelude" in some
copies.

Preludes and Fugue (242) in D minor. The prelude has no
pedal part. The fugue is arranged from the earlier viohn
solo fugue in G minor (228).

In G minor.

Fantasia and Fugue (242) in C minor.

Prelude and Fugue in C (242). This was originally in E major.
The fugue is in two portions, divided by nine bars of
florid passages. It was transposed to C for some of the
old organs which had only two octaves of pedals. In
Kirnberger's MS. it is called "Preludio con Fantasia con
Pedal."

Toccata and Fugue in C (242). The toccata is separated firom
the fugue by a very beautiful aria, in which a melody is
accompanied by chords and staccato bass, the only
instance of the kind in Bach's organ works. In one
MS. the toccata is called "Preludium."

Prelude and double Fugue (242) in A minor.

Preltede atid Fugue (iiifl) in E minor.

Prelude and Fugue (243) in C major.

InG.

In D. The prelude is in two movements. The work, which
is very brilliant, is inscribed "Concertata" as if intended
more for concert than church use. In one copy the work
is called simply " Pifece d'orgue, von Joh. Seb. Bach."

192

Organ Compositions

Toccata and Fugue in D minor (243).

Prelude and Fugue in C minor (243). In some MSS. this is
■ in D minor.

Fugues (243) in C minor. On a theme by Legrenzi. A
second subject appears in the course of the fugue, which
after being worked independently is finally united to the
first in a double fugue.

In G minor.

In B minor. The subject is by Corelli.

In C minor. Probably written for pedal clavichord. Com-
posed at Amstadt.

Canzona in D m.inor (243). In two movements. It was
popular, and many copies appear to have existed.

Fantasias (243) in G. In three movements of which the tempi
are indicated by Bach. "Tr&s Vitement," "Grave,"
" Lentement." From the number of copies which exist
this fantasia, also called " Pifece d'orgue," appears to have
been very popular.

In C minor. In five voices. In some MSS. called "Prelude."'

Prelude in A minor (343).

Fifty -six short Chorale-preludes (244).

Three sets of Chorale Variations called " Partite " (244).

Some Canonic Variations on the Christmas hymn " Vom
Himmel hoch da komm ich her" (244).

Seven Chorale-preludes (244).

Sixty-three ^^ Larger and more artistic Chorale-preludes" (245
and 246).

Four Concertos for two manuals and pedal (247). Arranged
from the Violin Concertos of Vivaldi. The originals were,
like Handel's "Concerti grossi," for four violins, one or
two violas, violoncello, bass and continuo.

Eight small Preludes and Fugues (247). For the instruction
of his son Friedemann.

Allabreve pro organo pleno (247). Organo pleno means a
complete organ, as opposed to a positiv, or one manual
instrument. It has the same kind of sense as our ex-
pression "Full orchestra," and does not mean that the
full force is to be employed the whole time.

Prelude in C (247). Without pedal.

N 193

Bach

In G '''•pro organo plena" (247).

Fantasia in C (247). Without pedal.

Fugue in C (247). The pedal only enters in the last five bars,
and is used in Buxtehude's manner, merely to complete
the harmony. ;

Prelude in G (247). Composed at Weimar.

Fugue in G minor (247).

Fantasia and Fugue in A minor (2067). An early work, in
some MS. called " Preludio e Fuga per il cembalo," so
that it was probably intended for the pedal clavichord.

Fiigue in G (2067).

Little Harmonic Labyrinth (2067). Consisting of three move-
ments called " Introitus," " Centrum," " Exitus." Starting
in the key of C, it perpetually modulates, chiefly by
enharmonic changes, and finishes by a return to C.

Fugue in G (2067).

Fugue in D (2067).

Concerto in G (2067). Called also " Fantasia."

Trio for two manuals and pedal in C minor (2067).

Aria in Ffor two manuals and pedal (2067).

Eleven Chorale-preludes (2067).

ORCHESTRA

Concerto in F (261). For violins, piccolo, three oboes, and two
corni di caccia, with accompaniment for two violins, viola,
violoncello and bass.

Concerto in F (262). For violin, flute, oboe, and trumpet
concertante, with accompaniment for two violins, viola,
violoncello and bass.

Concerto in G (263). For three violins, three violas, three
violoncellos and one bass. Rearranged as the intro-
ductory "symphony" to the cantata "Ich liebe den
Hochsten."

Concerto in G (264). For violin and two flutes concertante,
with accompaniment for two violins, violaj violoncello
and bass.

Concerto in D (265). For clavecin, flute and violin concertante,
with accompaniment for one violin, viola, violoncello and
bass.

194

Orchestral Works

Concerto in BJlat (266). For two violas, two violas da gamba,

with accompaniment for violoncello and bass.
Overture or Suite in C major (267). For two violins, viola,

two oboes, bassoon, violoncello and bass.
Overture or Suite in B minor (268). For two violins, viola,

violoncello, flute and bass.
Overture or Suite in D major (269). For two violins, viola,

bass kettle-drums, two oboes, and three trumpets.

19s

Works for Cembalo, Clavichord,
Spinet, ^c.

The Forty -eight Preludes and Fu^es. Part I. (i and la).

Part II. (2 and lb). For clavichord. See p. 131.
Sonatas (213) in A minor. From a sonata for two violins,

viola da gamba and bass in Reinken's " Hortus Musicus."
In C major. Arranged from Reinken's " Hortus Musicus.'
In D minor. Arranged from the sonata in A minor for violin

alone (228).
Prelude and Fugue in E flat (214).
Fugue in B minor (214).
Suites in A minor (214).
In Eflat.
InG.

Preludio con Fughetta in F (214).
In G.

Prelude in G (214).

The adagio of violin solo sonata in C arranged for clavier {21/^.
ChromcUic Fantasia and Fugue in D minor (207).
Prelude and Fugue in A minor (207). Composed at Cothen.
Toccata and Fugue in E minor (210). The toccata is in three

movements.
Toccata and Fugue in F sharp minor (210). Allegro moder-
ate, lento, fugue (for three voices) allegro moderate

fugue (for four voices).
Toccata and Fugue in C minor (210). The toccata is in two

movements — allegro moderate and adagio.
Fantasia and Fugue in A minor (208)

196

Cembalo, Clavichord, Spinet, ^c.

Fantasia and Fughetta in B flat (212). These are written on
one stave, with figures for the harmony.

InD.

Capriccio sopra la lontananza del suo fraiello dilettissimo
(208). See p. 28.

Toccata and Fugue in D minor (210). The toccata contains
three movements — allegro moderate, allegro, adagio.

Four Duets (208). For right and left hand.

A Prelude with Fugue on the notes B, A, C, H {212). Apo-
cryphal

Six Partitas in B flat, C minor, A minor, D, G, E minor
(205). From the Clavieriibung, Part I.

Concerto " in the Italian style" (207). From the Clavieriibung,
Part II.

Suite in B minor (208) or Partita. From the Clavieriibung,
Part II. The work is entitled "an overture after French
taste, for a davicymbal with two manuals."

Air with thirty variations for harpsichord with two manuals
(209). From the Clavieriibung. The theme is in the
bass. The work was composed for his clever pupil, J. T.
Goldberg, at the request of Baron Kayserling, who pre-
sented Bach with a snufiPbox containing one hundred
louis d'or in return for it.

Six little Preludes (200).

Utile two-part Fugue in C minor (200).

Fifteen two-part Inventions (201).

Fifteen three-part Inventions; also called Symphonies (202).

Six little Suites called the French Suites (202). From Anna
Magdalena's first book.

Six large Suites called the English Suites (203).

Toccata and Fugue in G minor (21 1). The toccata is in three
movements.

Prelude and Fugue in A minor (211).

Fantasia and Fugue in D (211). The fantasia is in five
movements.

Prelude and Fughetta in D minor (200).
„ „ E minor (200).

Prelude and Fugue in A minor (200).

Two Fantasias in C minor {2<yj, 212).

197

Bach

Tiuo Fugues in C (200).

Two Fugues in D minor (212).

Fugues in A major (212).

„ E minor.

„ A minor.
Twelve little Preludes or exercises for beginners (200). No. 3

is also intended for the lute. Some of these are found in

the " Clavierbiichlein fur W. F. Bach."
Part of a Suite in F minor (212).
Unfinished Fugue in C minor (212).
Sixteen Concertos arranged from the Violin Concertos of

Vivaldi (217).
Art of Fugue {11%). See p. 134.
The Musical Offering {2i<)). See p. 135.
Fantasia in A minor (215).
Air varied in G minor (215).
Toccata in G (215). In three movements.
OvertureinF. Consisting of "Overture," "Entrde," "Minuet,"

" Trio," " Bourree," " Gigue," all in the same key.
Fantasia in G tninor (215),
Capriccio in E (215). " In honour of J. C. Bach of

Ohrdruf"
Fantasia con imitaxione in B minor (216). It is doubtful

whether this is intended for organ or pedal harpsichord.
Sonata in D (216). Modelled on Kuhnau.
Two Fugues in A (216).
Three Minuets (216).
Minuet in G minor (19J9).
Adagio and Presto in D minor {\<)t,<)).
Prelude in Eflat (1959)-

Fugue in Bflat (1959). From a fugue by J. C. Erselius.
Sixty-nine Chorale Melodies with figured bass. Published in

1736.

Of doubtful authenticity (19S9);

Sarabande with 16 Partite.
Passacaille in D minor.
Suite in Bflat.

198

Cembalo, Clavichord, Spinet, ^c.

Al/emande^

Courante \ in A.

Gigue J

Fantasia. Through all keys. Attributed to J. D. Heinichen.

Fantasia in G minor. In five movements.

Fantasia and Fugue in D minor.

Fugue in G minor.

Scherzo in D minor.

Andante in G minor.

Fugue in B flat. An extension of a sonata movement in

Reinken's " Hortus Musicus."
Fugues —
InC.

„ E minor.

„G.

„D.

„ (a) E minor.

„ (6) E minor.
Chaconnes —
In A,

„G.

Of works not already mentioned, the " Bachgesellschaft "
publishes in vol. xlii., Part II., the following apparently
authentic compositions : —

Prelude and Fugue in A minor.
Concerto and Fugue in C minor.
Prelude in B minor.

Of more doubtful authenticity ;

Fantasia in C minor. Molto allegro.

Toccata quasi fantasia confuga, A major.

Partie, A major.

Allemande in C minor.

Gigue, F minor.

Allemande and Courante, A major

Allemande in A minor.

Two Fantasias and Fughettas.

An Unfinished Fugue in E minor.

199

Bach

KEYED INSTRUMENTS WITH ACCOMPANIMENT.

Concerto in ^(248). For clavecin and two flutes concertante,

with accompaniment for two violins, viola and bass.
Concerto in G minor (249). For clavecin, with accompaniment

for two violins, viola, violoncello and bass.
Concerto in F minor (250). For clavecin, with accompaniment

for two violins, viola and bass.
Concerto in D major (251). For clavecin, with accompaniment

for two violins, viola and bass.
Concerto in A major(2i2). For clavecin, with accompaniment

for two violins, viola, violoncello and bass.
Concerto in E major (253). For clavecin, with accompaniment

for two violins, viola and bass.
Concerto in D minor {2$^). For clavecin, with accompaniment

for two violins, viola and bass. The first allegro is

arranged as the introductory symphony of the Cantatii,

" Wir miissen durch viel Triibsal."
Concerto in A minor (255). For clavecin, flute and violin, with

accompaniment for two violins, viola, violoncello and bass.
Concerto in C (256). For two clavecins, with two violins,

viola and bass.
Concerto in C minor (257). For two clavecins, with two

violins, viola and bass.
Concerto in C minor (257(5). For two clavecins, with two

violins, viola and bass. Arranged from the concerto for

two violins.
Concerto in D minor (258). For three clavecins, with two

violins, viola and bass.
Concerto in C (259). For three clavecins, with two violins,

viola and bass.
Concerto in A minor, after a concerto for four violins by

Vivaldi (260). For four clavecins, with accompaniment

for two violins, viola and bass.

FOR OTHER INSTRUMENTS.
Concerto in A minor (229 '). For violin, with accompaniment
for two violins, viola and bass. Also arranged for clavecin
and strings in G minor.

1 Pianoforte score.

200

Cembalo, Clavichord, Spinet, S^c.

Concerto in E (230*). For violin, with accompaniment for
two violins, viola and bass.

Concerto (231 ') in D minor. For two principal violins, with
accompaniment for two violins, viola and bass. Also
arranged for two clavecins and strings in C minor (257^).

Three Sonatas and three Suites for violin, without accompani-
ment (228). Composed at Cothen. The fugue of the
sonata in G minor is also arranged for organ in D minor.
The sonata in A minor is also arranged for clavecin alone
in D minor (213), and the suite in E major in the same
key for clavecin. The prelude in E forms the obbligato
organ part of the opening chorus of the cantata "Wir
danken dir."

Six Sonatas for iflyi and 2^3) Violin and Figured Bass.

Six Sonatas for Flute or Violin and Clavier (234 and 235).

Suite in A for Violin and Clavier (236).

Sonata in E minor for Violin and Clavier (236).

Fugue in G minor for Violin and Clavier (236).

Sonata in Cfor two Violins and Clavier (237).

Sonata in Gfor Flute, Violin and Clavier (237).

Trio for Flute, Violin and Clavier (237). From the " Musical
Offering" ; the clavier part supplied from the figtired bass
by Kirnberger.

Six Sonatas or Suites for the Violoncello (238).

Three Sonatas for the Viola da Gamba and Clavier (239).

Clavierbuch of Anna Magdalena Bach, 1 725. Contains twenty
easy pieces, consisting of minuets, polonaises, rondos,
marches, and one song.

Principles of Thorough-bass for his pupils. Dated 1738, and
preserved by J. P. Kellner. It is divided into two parts
for beginners and advanced pupils. The author says,
" The ultimate end and aim of thorough-bass should only
be the glory of God and recreation of the mind. Where
these are not kept in view there can be no real music,
only an infernal jingling and bellowing." The complete
work is quoted as an appendix in Spitta, vol. iii.

3 Pianoforte score.

201

Bibliography

Adlung (J. A.). Musica mechanica organcedi, 1768, (notes

in).
Bach (J. S.). Eine Biographie, mit Portrait. Cassel, 1855.
Bachgesellschaft. The complete works of Bach in 60 volumes,

with important introductory notices ; published by the

Bach Society of Leipsic. Breitkopf & Hartel, 1851 to

1898.
Bitter (C. H.). Joh. Seb. Bach. Berlin, 1865 : 2 vols. ; and

1880 : 4 vols.

Die Sohne Sebastian Bachs. 1883. In Waldersee's

Sammlung musikalische Vortrage, vol. v.

Brockhaus. Conversationslexicon. Leipsic, 1833.

Bruyck (C. D. van). Technische und assthetische Analysen

des Wohlt. Clav. 1867.
Conrad (E. F.). Echt oder unecht? Zur Lucas-Passion.

Berlin.
David (E.). La vie et les oeuvres de J. S. Bach. In " Biblio-

theque Conteraporaine." Paris, 1882.
Ersch und Gruber. AUgemeine Encyclopaedic. Part VII.

Leipsic, 1821. (Article by C. M. von Weber.)
Fetis. Biographie Universelle des Musiciens. 2nd edition.

1889.
Forkel (J. N.). t)ber Johann Sebastian Bachs Leben. Kunst

und Kunstwerke. Leipzig, 1802.
An English translation of the above appeared in 1820,

and a French edition, with notes by F. Grenier, was

published at Paris in 1876.
Franz (R.). t)ber J. S. Bachs Magnificat. 1863.

Ueber Bearbeitungen alterer Tonwerke, namentlich

Bach'scher und Handel'scher Vocal-musik. 187 1.

Fromrael (G.). Handel und Bach. 1878.

Bibliography

Fuchs (H.). Le Bicentenaire de Bach. La Passion selon

Saint Matthieu a Bdle. 1885.
Gerber (E. L.). Lexicon der Tonkunstler. Leipsic, 1790.

Lexicon der Tonkunstler. Leipsic, 181 2.

Grosser (P. E.). Lebensbeschreibung. Nebst einer Samm-

lung interessante Anekdoten. Breslau, 1834.
Hauptmann (M.). Erlauterungen zu J. S. Bach's Kunst der

Fuge. 1 841.
Hilgenfeldt (C. L.). Leben Wirken und Werke.
Hiller (J. A.). Lebensbeschreibungen beriihmter Musikgelehr-

ten und Tonkiinstler. Part L 1784.
Hirschung. Historisch-literarisches Handbuch beriihmter

Personen. Vol. i. 1794.
His (W.). Johann Seb. Bach : Forschungen iiber dessen

Grabstatte. 1895.
Iliffe (F.). The Forty-eight Preludes and Fugues of J. S. Bach,

analysed 1897.
Johnston (H. F. H.). Passion Music. 1858.
Junghaus (W.). J. S. B. als Schuler der Partikularschule in

Liineberg.
Kuhnau (J. C. W.). Die blinden Tonkiinstler. 18 10.
Ludwig (C. A). J. S. B. in seiner Bedeutung fiir Cantoren.
Mangold (C. A.). Bach's Passion, Ein Beitrag zur Character-

istik der Bachschen Compositionsweise. i860.
Mendel. Musikalisches Conversations Lexicon. 2nd edition,

1 88 1. Berlin.
Meyer (Dr P.). Joh. Seb. Bach. Vortrag in " Oeflfentliche

Vortrage gehalten in der Schweiz." 1871.
Minerva. Zur Erinnerungsfeier an J. S. Bach's Todestag.

Jena, 1850.
Mizler (L. C). Musikalische Bibliothek, vol. iv.. Part I., pp.

158-176. Leipsic, 1754. An article compiled by P.

Emanuel Bach and J. F. Agricola.
Mosewius (J. T.). J. S. B. in seinen Kirchen-Cantaten und

Choralgesangen. 1 845.
J. S. B.'s Matthaus-Passion Musikalisch-sesthetisch

dargestellt. 1852.
'Oordt (A. M. van). Een Kort Woord over Bach. 1 873.
Polko (E.). Unsere Musikklassiker.

203

Bach

Poole (R. L.). Life of Bach, in Hueffer's "The Great

Musicians." 1881.
Reissmann (A.). Leben Johann Sebastian Bach's.
Riemann (H.). Analysis of J. S. Bach's Wohltemperirtes

Clavier. 1893.
Rochlitz (A. F.). AUg. Musik Zeitung, 1831, (article in).
Schaeifer. J. Seb. Bach's Cantata, "Sie warden aus Saba

alle kommen" in den Ausgaben von R. Franz und den

leipziger Bach-Verein Kritisch beleuchtet. 1877.
Schauer (Dr J. K.). Lebensbild. Jena, 1850.
Schick (M.). J. S. B. Lebensbild.

Schiffher (A.). Sebastian Bach's Nachkommenschaft. 1840.
Schilling (Dr G.). Universallexicon der Tonkiinst. Stuttgart,

1835. (Article by A. B. Marx.)
Shuttleworth (Miss Kay). " Life of Bach."
Siebigke. Museum beriihmter Tonkunstler. i8or.
Spitta (P.). John Sebastian Bach. 2 vols. 1873-80.

The above, translated by Clara Bell and J. A, Fuller

Maitland. Novello, London, 1884. 2nd edition, 1899.

Die Passions-Musiken von Seb. Bach, 1893, in" Samm-

lung gemeinverstandlicher wissenschaftlicher Vortrage.
Serie 8, Heft 176.

Ueber die Beziehungen S. Bach's zu C. F. Hunold

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Philologische Aufsatze. 1884. Berlin.
Taylor (Sedley). The Life of J. S. B. in relation to his work

as a Church Musician and Composer. 1897.
Todt (B.). Vademecum durch die Bachschen Cantaten.

1895.
Tudor (H.). Das Heroentum in der Deutschen Musik. An

essay on the music of Bach, Beethoven and Wagner.

1 891.
Walther (J. G.). Musikalisches Lexicon. 1732. Contams a

short article on J. S. Bach.
Westphal (R.). AUgemeine Theorie der Musikalischen

Rhythmik. Mit besonderer Beriichsichtigung von Bach's

Fugen, &c. 1880.
Winterfeld (C. von). Der evangelische Kirchengesang.

Leipsic, 1847.

394

The performance of a Church Cantata

From Walther's T-exicm, Leipsic, 1732

Glossary

Ahle, Joh. Rudolph, was bom 1625, and, after holding a post
at Erfurt, became organist and burgomaster of his native
town Miihlhausen. His chorale tunes are still popular
in Thuringia. On his death in 1673 he was succeeded by
his son Joh. Georg, who was a member of the Town
Council, and poet laureate to the Emperor Leopold I.

Bbhm, Georg. Is described by Walther as a fine composer
and organist of St John at Liineburg. Bach modelled
some of his early chorale-preludes, notably " Wir glauben
all ' an einen Gott " on Bohm's style.

Brust-positiv. The name given to the choir manual when its
pipes stand in front of the rest of the organ, as in many
of the old English cathedral organs.

Buxtehude, Dietrich, 1637-1707, organist at the Marien-Kirche
at Lubeck. His organ fugues, toccatas, &c., are of great
importance as having furnished Bach with his earliest
models. The fugues are usually in three portions, as in
Bach's great E flat fugue (Peters, 242). Many of his organ
works have been published by Spitta.

Caldara, Antonius. Born at Venice 1678, a pupil of Legrenzi
and Fux, and the writer of many operas, and much church
music. He was successively Capellmeister at St Mark's,
the Court of Mantua, and to Charles VI. at Vienna. He
was a clever imitator, but had little inventive genius.
On coming to Germany, his style improved in vigour.
Bach admired him sufficiently to copy his Magnificat
in C.

Cantor, Choirmaster. The office is rarely held by the organist
as in England, since the cantor has to conduct the
" Hauptmusik" with a baton while the organist plays.

205

Bach

Cembalo, or clavicymbal, or clavessin, or clavecin, for which
Bach wrote his clavier works, was in shape like the modern
grand piano, but its interior construction was something
after the model of the organ. It had, in common with
the organ, the defect of being unable to produce piano or
forte by the touch alone, this being done by stops. A com-

plete cembalo had the compass of (^' to ^^

-&-
and two manuals. Each note had four strings producing
4, 8, and i6 ft. tone, two being of 8 ft. The strings were
sounded by plectra made of quill, called jacks. The
instruments were sometimes also provided with organ
pedals. It will be seen at once that a piece played on
i6, 8 and 4 ft. stops would sound far fuller than when
played on the modern piano with only unison strings.

The cembalo was used to play the basso continuo in all
concerted music outside the church ; and even in a con-
certo for clavier, a second cembalo appears to have
accompanied. The lute or regal, however, sometimes
took its place, for convenience of porterage.

Transposing clavicymbals, and clavicymbals with keyboards
at both ends were in use. The tuning was very trouble-
some, and had to be done before each performance.
Other names were Gravecymbalum, Fliigel, Schweinskopf,
Steertstiick. The claviorganum was a combination of
clavicymbal and positive.

Choral is the German name for the Plainsong of the Roman
Church. After the Refonnation the name Choral (Eng-
lish "Chorale ") was given to the hymns which were either
translated from the Latin, or originally written in the
fourteenth century by Johannes of Salzburg, Muscatbliiet,
Hans Foltz, Michel Beheim, Johannes Gosseler, Jorg
Breining, and Heinrich von Laufenberg, and which took
a firm hold on the German people through the efforts of
Martin Luther, Michael Vehe, W. Heintz, Joh. Hofmann,

206

Glossary

and others. The peculiar variety to be observed in the
metrical construction of the German Chorale is directly
traceable to the influence of the Volkslied, for Luther
himself wrote sacred words for secular melodies. Other
names connected with the chorale are Valentin Triller,
Veil Heefen, Count Albrecht the younger of Brandenburg,
Culmbach, Speratus, Spengler, Hans Sachs, Schensing,
Decius Graumann, Joh. Walter, a friend and fellow-
worker of Luther, L. Senfl, von Bruck and Fink. Later
poets were Nic. Hermann, P. Nicolai, Calvisius Hassler,
&c., H. and J. Praetorius, Neumark, Flemming, Teschner,
Gerhard and Criiger. The music of the chorale was
brought'to perfection by J. S. Bach.

Chorale-Cantatas, those in which a complete hymn is carried
out, each verse forming as a rule a separate movement,
whether for chorus or solo voices, though occasionally a
verse is omitted in the longer hymns. Sometimes re-
citatives break the course of the chorale melody, or the
melody is played by the instruments and accompanied
by vocal recitative. The chorales chosen are always
well-known ones, and among the finest of the sixteenth
and seventeenth centuries.

Church Music. The services at Leipsic were regulated by an
act passed in 1540 by Duke Heinrich applying to all
Saxony. A morning service called matins was celebrated
at St Nicholas every Sunday at 5.30 a.m., in which the
Venite, Psalms, Te Deum and Benedicamus Domino
were sung by the choir, and directed by the St Nicholas
cantor.

Morning service took place at 7 at both St Thomas and St
Nidiolas ; a Latin motet was sung, followed by the
Kyrie, Gloria in excelsis, Collect in Latin, and at St
Thomas a Litany was sung by four boys and the choir
alternately. The Gospel and Epistle and Creed were
intoned by the priest, and on certain days the Nicene
Creed was sung in Latin by the choir. The " Haupt-
musik" (the cantata) followed the intoning or singing of
the Creed in Latin, and after it was finished the Creed
was sung by the congregation in German. This was

207

Bach

followed by a sermon of an hour's duration. The service
concluded with the general confession, the Lord's Prayer
and blessing. Chorales were sung by the congregation
during the course of the service.
At the mid-day service there were only a sermon and two
congregational hymns without the choir. It began at a
quarter to twelve. At vespers, the choir sang a motet, and
the Magnificat in German, besides leading the congrega-
tion in some hymns. At Christmas, Easter and Whitsun-
tide, similar services were performed for three consecutive
days, matins beginning at five instead of half-past to allow
more time for the festival services.

Cithara, Cither, a favourite instrument in the sixteenth century
of the guitar family, bearing 4, S or 6, or even 12 metal
strings. Praetorius condemns the four-stringed cithara as
being "a vulgar instrument only used by cobblers and
tailors." In England it was kept at barbers' shops for
the amusement of customers waiting their turn.

Clarino. Lichtenthal C. Dizionario della Musica, Milan, 1826,
says "the clarino is, according to some, a species of
small trumpet, of which the tube is narrower than that
of the ordinary trumpet, and which gives a more acute
sound; but Northerners hold that the word means the
ordinary trumpet." The word frequently occurs in Bach's
scores.

Clavichord. A key-board instrument having brass strings
which were neither plucked with a quill as in the harpsi-
chord, nor struck with a hammer as in the pianoforte,
but made to sound by a brass blade called a tangent,
which pressed against the string as long as the key was
held down. Although its tone had little power, the effects
of crescendo, diminuendo, and vibrato, called in Germany
"Bebung," were entirely under the player's control, and
on this account it was a favourite instrument with Bach.
The clavichord was sometimes provided with pedals for
the use of organ students.

Clavicymbal. See Cembalo.

Clavier, literally Keyboard. The German name for all key-
board instruments, such as the clavichord, harpsichord,

208

Glossary

spinet, instrument, &c. The term is also applied to both
the manuals and pedals of the organ.

Clavierbiichlein, little clavier book for Bach's son W. Friede-
mann, when nine years old, in 1720. A diagram shows the
keys and principal ornaments, and one of the pieces is
figured and called " Applicatio, in nomine Jesu." Some of
the pieces are composed by the boy himself Eleven of the
preludes of the Wohltemperirte clavier first appeared in
this book ; some of the pieces are by other composers as
J. C. Richter and G. H. Stolzel of Gotha, and there are
many of Bach's own fugues.

Clavierbiichlein, vor Anna Magdalena Bach in 1720 and 1725.
See p. 57.

Clavieriibung, clavier practice. A work in four parts, con-
sisting of preludes, allemands, the Italian concerto, the
French overture, choralvorspiele, &c., intended, as the
name implies, for educational purposes. The work in-
cludes the well-known prelude and fugue for organ in E
flat, Peters 242, and the air in G with thirty variations
written for Goldberg.

College of Instrumental Musicians of Upper and Lower
Saxony. The full text is given by Spitta, vol. i. p. 145,
et seq. The statutes enacted that no member was to
settle in any town where another member was already
settled ; no member was to take lower fees than his
predecessor ; no member was to boast that he played
on a superior instrument to others ; offices were only
to be obtained by proper examination ; no member was
to sing immoral songs ; every member must conduct
himself with propriety in social "attendances," and to
see that his assistants did the same ; no member was
to bring his art to disrepute by playing on bagpipes,
hurdy-gurdies, triangles, &c.

No bad language was to be allowed, and all low company to
be avoided ; apprentices must, before binding, produce
credentials of respectability, and must serve for five years
with industry and constant prayer. After an apprentice
has served his five years he is to serve another three
as an "assistant," except when he marries his master's

O 209

Bach

daughter, in which case he shall only serve one yeai
as assistant. In case of dissension arising, the matter
must be brought before six master-musicians, who shall
decide it. No man is to seek to oust an old master ; but
if a man becomes too old to do his work, an assistant
shall be appointed who shall receive half the salary.
Every master is to see that his assistants are properly
paid for services rendered. In order that the art of music
may not be brought into contempt by inadequate per-
formance, no man shall be allowed to keep more than
three apprentices at one time (for this would compel him
to employ properly qualified assistants to carry out
concerted music). A master neglecting to teach his
apprentices could be punished ; and an apprentice
running away could never become a member of the
college. However great the number of members, no
man was to be refused membership who was found, after
due trial, to be properly qualified. Questions of evil morals
arising among members were to be decided by a board
of elders.

Concertmeister, the leader of an orchestra who ranks im-
mediately after the conductor. In early times he was
also the conductor of purely instrumental music, while
the capellmeister conducted whenever voices were em-
ployed. The title is also bestowed as a mark of respect
on musicians of eminence who are not connected with an
orchestra.

Concerto. A term applied to both vocal and instrumental
concerted music. Several of Bach's Cantatas are thus
named ; thus "Ein Herz das seinen Jesum lebend weiss"
is entitled "Concerto k quattro voci, 2 oboi, 2 violini,
viola e continuo di J. S. Bach." Concertos for instru-
ments were in several movements, but usually three.
There was sometimes a single solo instrument, but more
frequently there were several. The fine concerto in G in
two movements is for three violins, three violas, three
violoncellos and bass without a solo instrument. The
concertos of Handel and Vivaldi, &c., are orchestral com-
positions in several movements with or without wind

210

Glossary

instruments. The Italian Concerto is a piece in three
movements for clavecin without accompaniment.

Consistory. The authorities of an important church, some-
what analogous to the Dean and Chapter of an English
cathedral.

Continue = Basso Continuo, the bass of a composition for
voices or instruments or both. It was always the lowest
part, and was usually provided with figures, that the ac-
companist might be able to fill in the harmonies and
keep the body of performers together. It was performed
on the organ, or cembalo or regal, according to circum-
stances. The continuo of most of Bach's cantatas was
written out in two keys, to suit the two pitches in use,
" Chorton " being a tone higher than " Kammerton." All
chamber music required the accompaniment of a cembalo
in figured bass ; and even if there were one or more
" Cembali " obbligati a separate instrument would be
employed for the continuo. In all Bach's church com-
positions in which there is an organ obbligato part, there
IS another organ part for the continuo. The conductor
stood near the organist, as may be seen in the frontispiece
to Walther's Lexicon.

Comet, Cometto, Zink, consisted of a curved wooden tube
covered with leather and having holes for the fingers
with a cup mouthpiece like a trumpet. Two comets
hang on the wall near the organ in Walther's illustration.

Drese, Johann Samuel, 1654-1 716, was organist of the Court
at Jena, and afterwards Capellmeister at Weimar. He
composed sonatas for the clavier, motets and operas.

Estomihi. Quinquagesima Sunday.

Figural Music. Florid music, or all church music that is not
Plainsong, or its Lutheran equivalent the chorale-melody.

Florilegium Portense, a work containing 115 "cantiones
selectissimas " of from four to eight voices, with figured
bass for organ. A second part contained 150 "concentus
selectissimas " of from five to ten parts. Published 1603
and 1 62 1 by Bodenschatz, Cantor of Schulpforta, and
Pastor at Rehausen. A complete catalogue is given in
Groves' Dictionary, vol. i. p. 253.

311

Bach

French Overture. A form of opera overture consisting of a
slow introduction, followed by a fugue or fugato, and
concluding with a slow movement. This form was applied
to the clavier by Bach in the " Overture in the French
style" (E. P. 208) of the B minor Suite or Partita.

Fux, J oh. Joseph, born in Styria, 1660, organist. Court com-
poser, and Capellmeister at Vienna. A prolific composer
of church music and opera, but he is best known by his
theoretical works, amongst which is his Latin "Gradus
ad Parnassum," a treatise on composition, which has
been through many editions.

Gorner, J. Gottlieb, was appointed organist of the Nicolai
Church at Leipsic in 1721 and was also head of a
"Collegium Musicum" or musical society. In 1729 he
succeeded Grabner as organist of St Thomas. He was
a mediocre musician, but put himself in rivalry with Bach,
and is reported by Scheibe to have "by his rudeness
asserted his pre-eminence among a large number of his
equals." He gave Bach a good deal of trouble by as-
suming the position and emoluments of director of music
to the University ; but they appear to have worked
amicably together afterwards, and Bach, by will, appointed
him guardian of his children, an office which he appears
to have satisfactorily fulfilled.

Hammerschmidt, Andreas, born in Bohemia, 161 1, organist of
Freiburg, afterwards at Zittau. According to Gerber,
one of the greatest of German contrapuntists. Walther
gives a list of his compositions, which are mostly for the
church. His "Musical discourses on the Gospel" were
an important step in the development of oratorio.

Hunold, Christian Friedrich. A poet, known as Menantes,
who wrote poems for the Hamburg Theatre 1700 to 1706 ;
became a professor at Halle, and was much at the Cothen
Court, where he wrote texts for Bach's cantatas.

Instrument A name given to a keyed instrument of which
the strings went from side to side as in the obsolete
square pianoforte, the key-board being in the middle.

Inventions. The fifteen Inventions and Symphonies were
entitled by Bach "A genuine introduction whereby a

313

Glossary

dear method is shown to lovers of the clavier, and
especially to those who are eager to learn, not only (i)
of playing in two voices clearly, but also, on making
further progress, (2) of playing three obbligato parts
properly and well ; so that they at the same time will
learn to make good inventions and play them themselves,
and will also Team what is most important, the art of
cantabile playing ; and will acquire a good taste in
composition. Prepared by J. S. Bach, 1723."

Keiser, Reinhard, was for forty years the celebrated composer
and conductor of operas at Hamburg. He had as col-
leagues Teleman and Matheson. He wrote 116 operas,
and produced many by other composers, particularly
Handel's Rinaldo. Born near Leipsic, 1673, died 1739.

Kilhnau, Johann, 1667-1722, Bach's predecessor as cantor at
the Thomas-schule, was a prolific writer on musical sub-
jects. Amongst his compositions are six Bible sonatas,
representing scenes from Scripture on the cembalo. He
was the first to write chamber sonatas for the clavier
instead of for several instruments. He was also learned
in languages, mathematics, and law. He wrote passions,
cantatas, &c., but his style seems to have soon become
antiquated, and his works could not hold their own
against the opera and the younger school.

Lituus. The cantata No. 118, "O Jesu Christ mein's Leben's
Licht,"is scored for two litui, comet and three trombones.
There are no string or organ parts, and the work is
evidently intended for the open air, perhaps for a funeral.
There is no reason given for calling the trumpets by their
Latin name in this instance.

Lute. This instrument appears in the score of the St John's
Passion. It was sometimes used instead of a clavecin
to accompany concerted music.

Lute-Harpsichord. A keyed instrument with gut strings made
after Bach's design by Zacharias Hildebrand, an organ
builder. See p. 1 57-

Matheson, 1681-1764, wrote 89 volumes chiefly on musical
subjects, besides being a composer. He was a classical
scholar, a student of modem languages, law, and political

213

Bach

science, a good musician, dancer, and fencer. He ap-
peared on the Hamburg- stage as a singer, composed
and conducted operas there, became a great friend of
Handel, was made secretary of the English Legation,
and cantor and canon of the Cathedral. By his writings
he materially helped forward the development of the
church cantata.

Mizler, von Kolof, Doctor of Philosophy and historian, born
17 1 1 at Wurtemberg, was a good amateur musician. In
1731 he went to Leipsic to study divinity and afterwards
philosophy and music. Here he founded a " Society for
Musical Science," and became on friendly terms with
Bach, who seems to have given him some lessons. He
wrote various works dealing with the philosophy of
music ; and his chief importance in connection with
Bach was his "Necrology" in which he gives valuable
information concerning him. The work is in several
numbers j unfortunately that portion of it which deals
with Bach is not in the British Museum Library.

Motet. The character and scope of the German motet are
thus described by Spitta, vol. i. p. 54. " It is in several
parts ; it admits of no obbligato instruments, and its
subjects are set to a text of the Bible, or to a verse of
a hymn. The period of its fullest bloom was about 1600,
when music was essentially polyphonic, vocal, and sacred."
Under the influence of harmony it gradually changed its
form, introducing solo voices and instruments, especially
the organ.

Oboe da Caccia. Hunting oboe, bent like a knee, and differ-
ing but slightly from the modem Cor Anglais, or English
horn. It occurs very frequently in Bach's scores. It is
described in Grove's Dictionary as a bassoon raised a
fourth, carrying the bass tone of the latter upwards rather
than lowering the treble tone of the oboe a fifth. It is also
called by Bach, Taille de basson, or tenor of the bassoon.

Oberwerk. The Great organ.

Oberpositiv. A choir organ of which the wmd-chest is placed
above the others.

Orgel-biichlein, " Little organ-book." The first collection was

314

Glossary-

made, according to Bach himself, at Cothen between
17 17 and 1723. The second collection, consisting of six
chorales, was published and sold by Bach and his sons
at Leipsic, HaJle, and Berlin. The third collection was
continued till his death and was not published. The
last portion was dictated during his blindness to his
son-in-law Altnikol. The two unpublished parts were
written on two staves only. The pedal compass in the
chorales extends to high F and Ft These notes were
found on the organ of the Lutheran Church at Cothen
only. This organ is described by Hartmann in 1803
as "an uncommonly powerful and excellent instrument."
It had 8 stops on the pedals, 10 on the great, 10 on the
choir. It is now reduced in size and ruined in order to
obtain more room in the church.

Partita. A name given to sets of variations for organ or
cembalo, and appropriated from the town pipers.

Pachelbel, Johann, 1653-1706, born at Niiremberg, was assist-
ant organist at the Church of St Stephen in Vienna,
whence he moved to Eisenach as Court organist in 1677.
From Eisenach he went to Erfurt and to Gehren. In
1690 he became Court organist at Stuttgart ; and after
a stay of three years at Gotha he became organist of
a church at Nuremberg till his death. He taught W.
Friedemann Bach, and Bernhard, son of i£gidius. Ac-
cording to Gerber, he improved church music, used the
overture form on the clavier, and continued the good
work which Froberger had begfun in respect of clavier
composition. Bach used his chorales as models during
the Amstadt period.

Picander. A poet of considerable reputation in his time named
Christian Friedrich Henrici. Bom I7ooat Stolpen. Went
to the University at Leipsic, 1720. Became a lawyer, but
was afterwards able to live by bis poetical compositions,
though he obtained important posts in Leipsic. Died
1764. He wrote the text for many of Bach's compositions.

Positiv. The name given to that portion of an organ and its
manual which corresponds to our choir organ. In a
three manual organ there are usually two choir manuals.

Bach

The swell shutters, if any, are only applied to a few stops,
used generally on a fourth or "echo" manual. Properly
speaking the positive, called in Italian organs, piccolo,
had its foundation pipes pitched an octave higher than
those of the ordinary organ. Its diapason would therefore
be a four-feet register.

Regal. Sometimes used to accompany secular cantatas in-
stead of the clavecin. It was also used for choir practices.
In 1709 KUhnau in a Memorial to the Council says, "A
new regal is needed, the old one being constantly in
need of repair." An inventory of the instruments at the
Thomas-schule between 1723 and 1750 mentions, "i
Regal, old and quite done for" ; " i ditto bought 1696."

The regal was a small reed instrument of the harmonium
class, but with small pipes to enhance the sound of the
reeds. It could easily be carried about, and was placed
on a table when played. It could be made so small as to
take the size and shape of a large book, hence sometimes
called Book or Bible-regal.

Schubart, Christian F. Daniel. Bom 1739. Master of Philo-
sophy, Theatre director, Court poet of Stuttgart, a good
amateur musician. Was a good organist and held various
posts. In 1777 to 1787 he was imprisoned in a castle on
account of some views expressed in his political paper
" Deutsche Chronik." Burney, who met him, remarks
on his great facility as a clavier player. He published
several compositions and works on music.

Schiitz, Heinrich. 1585-1672. Brought opera from Italy to
Germany and also composed Passions. He was con-
sidered the best German composer of his century. He
wrote music to the Passions of Matthew, Luke and John
for the Court of Dresden, where he was Capellmeister.
These are the greatest works of the kind next to those
of Bach. His compositions are in the old church tones,
but strongly influenced by the coming tonality of modem
music.

Solo Cantatas. Those written for one or more solo voices
without a chorus. They sometimes conclude with the
chorale in four parts.

3l6

Glossary

Spinet Is defined by Hipkins ("The Pianoforte," p. 121) as
"a Jack keyboard instrument with one string to a note,"
as opposed to the cembalo, harpsichord, &c., which had
several strings to a note. Adlung says the spinet was
of limited compass, its lowest octave being " short " and
it was tuned a fifth above chorus pitch. It was sometimes
triangular in shape and could be placed on a table ; its
strings ran from right to left of the performer, as in the
" Instrument."

Rttck-positiv. The name given to the choir manual when its
pipes stand behind the rest of the organ.

Telemann, G. Philipp. 1681-1767. A poet and musician who
composed no less than 600 overtures, 12 complete year
courses of cantatas, 44 passions, 32 compositions for the
instalment of preachers, 32 so-called oratorios, 20 corona-
tion pieces, 40 operas, and a mass of other music. Besides
all this he is described by Walther as the "greatest Poly-
graph that Germany can show," having written a number
of books on music, besides a quantity of bad poetry. He
was successively organist and director of the New Church
at Leipsic (during which time he mastered the English
Italian and French languages), Capellmeister in Sorau,
Concertraeister in Eisenach, Kapellmeister at Frankfort-
on-the-Maine, Music Director at Hamburg, where he
formed one of the trio of musicians, Keiser and Matheson
being the others. He was on very friendly terms with Bach
and Handel. He was a candidate for the post of Cantor
at St Thomas, having during his previous residence in
Leipsic (1701-4) founded a flourishing "Collegium Musi-
cum" among the students. He had a great reputation
throughout Germany. Bach copied some of his music,
and the influence of Telemann, at that time very popular,
is seen in Bach's cantata " Herr Gott dich loben wir."

Theorbo. A lute with an extra neck bearing the bass strings.

Tromba da tirarsi. A slide trumpet, the soprano of the
trombone. Often used in Bach's scores.

Viola d'amore. A tenor viol of a siiecially agreeable and
silvery tone (Walther). It sometimes had sympathetic
strings, though these were not a necessary adjunct.

317

Bach

Viola da gamba. Leg viol, the bass of the viol family, held
between the knees, like the violoncello, when played. It
had six strings, the lowest of which was the D below the
bass stave, and its finger-board was fretted. Its tone
(like that of all the viol class) was weak compared to the
violoncello.

Viola pomposa, an instrument invented by Bach. See p. 157.

Violetta. This instrument occurs in the cantata " Herr Gott
dich loben wir " as an alternative of the " oboe di caccia."
It is described by Walther as a fiddle (Geige) playing
an inner part, constructed like a viola, or small viola
da gamba.

Violino piccolo. A small violin whose lowest string was a
fourth higher than that of the violin. Its tuning was
therefore C, G, D, A, an octave above the viola. It
frequently occurs in Bach's scores.

Violoncello piccolo, with five strings. . This instrument occurs
in the score of a tenor aria in cantata No. 41, " Jesu nur
sei gepreiset." The additional string was tuned to E,
and enabled the performer to execute the very florid
high passages which Bach writes.

Ziegler, Christiane Mariane von, who wrote words for some
of the cantatas was born in 1695 at Leipsic. Began to
publish poems when she was fifteen. Left a widow in
1722, she devoted herself to writing poetry and the practice
of the keyboard instruments and lute, and flute, and was
held in honour by the most artistic society of her time.
Spitta gives an account of her life in Curtius' Historisches
Aufsatze, 18S4. See p. 197.

218

Index

Abel, Chr. F., So

„ Karl Friedrich, id.
Accompanying, his method of,

103, 104
Able, Johann Georg, 33
Altnikol, Johann C, 170
Anhalt-Cothen, appointed capell-

meister to Prince Leopold of,

48
Arnstadt, appointed organist at,

25; details of organ at, 26,

27 ; troubles with Consistory

of, 29-33
"Art of Fugue," 134, 135

"Bach Choir," 143
Bach as " Familien-Vater," 170
Bach Family, 3-18
Bach Gesellschaft, 148
Bach, Maria Barbara, his cousin,
33; marries her, id. ; her death,

Bach Society, English, 142
Bachs of Thuringia, the, i, 2
Bibliography, 202-204
Birnbaum, his reply to Scheibe's

attack on Bach, 85
Birth, his, 2i
Blindness, his, 88
Bohm, becomes a pupil of, 23
Books and instruments, his, 80,

Borner, 25

Burial, his place of, 89

Buxtehude, visit to, 28

Cantatas and the chorale, 91
Carlsbad, visit to, 51
Cassel, visit to, 44
Catalogue of Instrumental Works,
191-195

Orchestra, 194, 195

Organ, 191-194
Catalogue of Vocal ff'oris, 177-
190

Church Cantatas, 177-188

Funeral Ode, 188

Lost Works, 190

Motets, 188

Secular Cantatas, 189
Cembalo, Clavichord, Spinet, Sr'c.,
Works for, 196-201

Keyed instruments with accom-
paniment, 200

Other instruments, 200, 201
Children, his, 57
Choirmaster, as, 171
Christmas Oratorio, the, 144
Clavichord, his favourite instru-
ment, 78
"Clavier, the Wohltemperirte,"

131

Cothen, appointed capellmeistet
at, 48 ; leaves, 56

219

Bach

Death, his, 89 ; notice of in the

Leipsic Chronicle, id.
Death of his Father, 21
Death of his first wife, 51
Dresden, competition with Mar-

ehand at, 46, 47 ; journey to,

46 ; plays organ at, 84
Drese, Samuel, 48

Early studies, 22

Easter oratorio, 145

Effler, Johann, 25

Eilmar, G. C, 38

English Bach Society, 142

Erdmann, G., 46

Ernesti, Johann August, 81 ;

troubles with, 82, 83
Eyesight, failing, 88 ; he becomes

blind, id.

" Familien-Vater," Bach as,
170

Fasch, 65

Father, death of his, 21

Figured bass, his method of play-
ing from, 165

Final illness and death, 89 ;
notice in the Leipsic Chronicle,
id.

Fingering, and use of keyed and
stringed instruments, 152-155

Flemming, Field Marshal von,

47
Forkel, 39, 78, 1 70; anecdote of

Bach, 41
Frederick the Great, visit to, 86,

Frohne, J. A., 38
"Fugue, Art of," 134, I3S

Gesner, 81
Glossary, 205-218

Corner, 78 ; throws his wig at, id,
Grace notes (Manieren), 149-151
Graupner, 65

Halle, visit to, 43, 45
Hamburg, competes for organist

ship at, 52 ; journey to, id.
Hamburg and Celle, visits to, 24
Handel, his efforts to meet, 55,

56
Harrer, Gottlob, 86, 90
Hausmann, his portrait of Bach,

8S
Heitmann, J. Joachim, 53
Herrings' heads, story of the, 24
Hildebrand, Zacharias, 157
Hilgenfeldt, 39, 172
Home life at Leipsic, 77
Hurlebusch, anecdote of, 79 ;

visit from, 79, 80

Kauffman, G. F., 65
Kirchoff, G., 46
Koch, Johann Sebastian, 36
Krebs, Johann Ludwig, 49 ;

Johann, T., id.
Kuhnau, 44

Lammbrhirt, Tobias, 36

Last representative of his family,
90

Leipsic, appointed Cantor of, 66;
Cantor, duties of, 59-61 ; differ-
ences with the Council, 70 ; St
Thomas's School at, 59

Leipsic church organs : —
Thomas Church, Leipsic, l6o-

162
University Church, Leipsic,
162-165

Lost works, 147

LUbeck, visit to, 28

820

Index

LUneburg, removes to, 22
Lute-harpsichord planned by
Bach, 157

Magnificat in D, 146
Marchand, competition wilh, 46,

47.
Marriage to his cousin, 33, 36
Marriage to Anna Magdalena

Wulken, 56
Mass in B minor, 114
Mattheson, 54, 55
Mizler, 85
Money matters, his carefulness

in, 80, 174
Milhlhausen, appointed organist

of St Blasius at, 33 ; resigns

appointment, 39
"Musical OflFering,'' 135; dedi-
cation to Frederick the Great,

136

Ohrdrof, removes to, 21

" Old Lutherans," the, differences

with, 38
Orchestration —

Accompanying, his method,

103, 104

"Ein feste Burg " chorale, 94,

96, 1 01
"Es ist nichts gesundes" can-
tata, 1 08-1 1 1
" Gottlob 1 nun geht das Jahr

zu Ende " cantata, 106
Mass in B minor :

(Et incamatus), 127

(Et resurrexit), 128

(Gloria), 127

(Kyrie), 126

(Sanctus), 1 23,. 1 29
Passion Music (St Matthew),

104, 105

Orchestration — continiud —

" Wir danken dir, Gott " can-
tata, 112
Organs —

As an examiner of, 78

Description of at Thomas
Church, Leipsic, 160-162

Description of at University
Church, Leipsic, 162, 165

Pitch of, 169

Passion Music (St Matthew),

114
Personal details, 77
"Pietists" the, differences with,

38
Playing, his, 148
Portraits of Bach, Hausmann's,

&c., 85, I7S
Pupils, list of his, 140

Reinkbn, 52
Rolle, Ch. F., 45, 65

Saxb- Weimar, appointed cham-
ber-musician to Duke of, 39 ;
his salary, 40

Saxon Court, appointed composer
to the, 84

Scheibe, his attack on Bach, 85 ;
Birnbaum's reply, id.

Schneider, J., 50

Scbott, 65

Schubart, Johann Martin, 35, 49

Self-Criticism, 173

Silbermann's pianos, 87, 172

St Blasius, MUhlhausen, appointed
organist of, 33 ; repairs to the
organ, 37 ; resigns the post, 39

Statues of Bach, 176

Stauber, Pastor, 39

Stringed instruments, his know-
ledge of, 157-159

321

Bach

Teacher, Bach as a, 137, 14O
Telemann, 65

VOGLER, J. C, 49

Walthbr, Johann Gottfried, 33,
40

Weimar, appointed chamber-
musician to Duke of, 39 ; his
salary, 40 ; joins the Court
orchestra at, 25

Widow and daughter, fate of his,
90

"Wohltemperirte Clavier,'' the,

I3«
WUlken, Anna Magdalena, mar-
ries her, 56
Works : —

"Art of Fugue," 134, 135
Canon, " Von Himmel hoch,
da komm' ich her," 85
Cantatas —

" Denn du wirst meine Seele

nicht in der Holle lassen,"

27, 28

" Erforsche mich Gott," 107

" Es ist nichts gesundes,

108-110, 113
" Freuedich erloste Schaar,"

112
" Gleich wie der Regen und

Schnee," 108
"Gott ist mein Konig,"

36
"Gottlob ! nun geht das Jahr

zu Ende," 106
" Herr Gott dich loben wir,"

107
"Ich hatte viel Bekummer-

niss," 108
"Jesus nahm zu sich die

Zwolfe," 66

Works : Cantatas — continued—
"Nun Komm, der Heiden

Heiland," 44
" O Ewigkeit, du Donner-

wort," 108
" The rich man died and was

buried," 86
"Thomana sass an noch

betrubt," 81
" Vor deinen Thron tret ich,"

89
"Wir danken dir, Gott,"

112
Cappricio on the departure of

his brother, 28
Chorales —
"An Wasserfliissen Baby-
lon," 24, 52
" Christ, der du bist der helle

Tag," 25
"Ein feste Burg," 43, 95,

96, loi
" Es ist gewisslich an der

Zeit," 24
"OGott.du Frommer Gott,"

25
' ' When we are in the greatest

need," 88
" Wie schon leuchtet uns

der Morgenstern," 28
Christmas Oratorio, 106, 144
Easter Oratorio, 14S
Magnificat in D, 146
Mass in B minor, 114, 123-

130
" Musical Offering," 13S
Passion Music (St Matthew),

104, 105, 114
Serenade, 51
Toccata in G, 24
Variations: "AUein Got in

der Hoh sei Ehr," 28

222

Index

Works ; Chorales — cotUinued —
" Wohltemperirte Clavier,"
the, 131-134
Works far Cembalo, Clavichord,
Spinet, &'c, catalogue of, 196-
zoi
Works, Instrumental —
Catalogue of, 191-19S
Orchestra, 194, 195

Works : Instrumental — con-
tinued —

Organ, 191-194
Works, Vocal —

Catalogue of, 177-190

Church Cantatas, 177-188

Funeral Ode, 18S

Lost Works, 190

Motets, 188

Secular Cantatas, 189

233

^'-'t.

;>r

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