The Project Gutenberg eBook, Bach, by Charles Francis Abdy Williams

The Master Musicians

Edited by
FREDERICK J. CROWEST.

The Master Musicians

Edited by
Frederick J. Crowest

LIST OF VOLUMES.

BACH. By C. F. Abdy Williams.

[Fourth Edition.

BEETHOVEN. By F. J. Crowest.

[Eighth Edition.

BRAHMS. By J. Lawrence Erb.

[Second Edition.

CHOPIN. By J. Cuthbert Hadden.

[Fourth Edition.

HANDEL. By C. F. Abdy Williams.

[Third 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.

[Second Edition.

WAGNER. By C. A. Lidgey.

[Fourth Edition.

All rights reserved

Published with the permission of the proprietors of the original engraving Breitkopf and Härtel in Leipsic.

Joh. Seb. Bach.

Bach

By
C. F. Abdy Williams
M.A. Cantab.; Mus. Bac., Oxon. et Cantab.

With
Illustrations and Portraits

London: J. M. Dent & 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 remarkable 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 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 organists, and I this year had interesting conversations with his successors at Arnstadt and Mühlhausen, Herr Kellermann and Herr Möller. 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 Fuller-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,
December 1899.

Contents

List of Illustrations

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 Arnstadt—His cantata “Es erhob sich ein Streit”—John Michael Bach of Gehren—His character—His compositions—Joh. Christoph Bach of Ohrdruf, and his descendants—The sons of Joh. Sebastian Bach—The clan feeling—A sixteenth century quodlibet.

John Sebastian Bach came of a large family of Thuringian musicians, whose members have been traced back to the first decade of the sixteenth century. The name frequently occurs in the sixteenth and seventeenth centuries among the inhabitants of Arnstadt, Erfurt, Gräfenrode, 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 Founder of the Family

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 miller. Owing to religious persecution, however, he sold what he could of his property, 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 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 portrait painted. He died of the plague in 1626. He seems to have left several children, of whom three were musicians—

• Johann, 1604-1673.
• Christoph, 1613-1661.
• Heinrich, 1615-1692.

The following genealogy will enable the reader to distinguish 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. Veit Bach, 155—-161—, the Founder.

Sons of Veit.

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

Sons of Hans.

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

Sons of Johann (No. 4).

7. Johann Christian, 1640-1682. 8. Johann Ægidius, 1645-1717. 9. Johann Nicolaus, 1653-1682.

Sons of Christoph (No. 5).

10. Georg Christoph, 1642-1697. 11. Joh. Ambrosius, 1645-1695. 12. Joh. Christoph, 1645-1694.

Sons of Heinrich (No. 6).

13. Joh. Christoph, 1643-1703. 14. Joh. Michael ... 15. Joh. Günther ...

Sons of Joh. Christian (No. 7).

16. Joh. Jacob, 1668-1692. 17. Joh. Christoph, 1673-1727.

Sons of Joh. Ægidius (No. 8).

18. Joh. Bernhard, 1676-1749. 19. Joh. Christoph, 1685-174—.

Son of Joh. Nicolaus (No. 9).

20. Joh. Nicolaus, 1682-174—.

Sons of 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 ...

Children of Joh. Michael (No. 14).

33. Joh. Ludwig 1677-1730. Maria Barbara (first wife of Joh. Sebastian).

Sons of Joh Christoph (No. 17).

34. Joh. Samuel, 1694 ... 35. Joh. Christian, 1696 ...

36. Joh. Günther ...

Son of Joh. Bernhard (No. 18).

37. Joh. Ernst, 1722-1781.

Sons of Joh. Christoph (No. 19).

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

40. Wilhelm Hieronymus, 17 ...

Sons of Joh. Valentin (No. 21).

41. Joh. Lorenz, 1695 ... 42. Joh. Elias, 1705-1755. 43. Joh. Heinrich ...

Sons of 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 of Joh. Sebastian (No. 26).

49. Wilhelm Friedemann, 1710-1784. 50. Joh. Christoph and a twin brother, 1713 + same year. 51. Carl Philipp Emanuel, 1714-1788. 52. Joh. Gottfried Bernhard, 1715-1739. 53. Leopold August, 1718-1719. 54. Gottfried Heinrich, 1724-1736(?). 55. Christian Gottlieb, 1725-1728. 56. Ernst Andreas, 1727 + same year. 57. Joh. Christoph Friedrich, 1732-1795. 58. Joh. Aug. Abraham, 1733-1734. 59. Joh. Christian, 1735-1782. 60. (8 daughters).

Music and War

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 quartering of soldiers, poverty and disorder; yet Johann Bach 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 Lämmerhirt.

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, born 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.”

The Thirty Years’ War

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 a strong effort was made by their various 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.;[1] the Bach family seem, however, to have kept aloof from this combination, and there is no doubt that they were better educated than the majority of town musicians.

Heinrich (No. 6) was appointed organist of the Franciscan 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 coarseness 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 Ægidius Bach (No. 8) became director of the town musicians and alto-viola player at Erfurt in succession 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 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.

J. Ambrosius Bach

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[2] player, and was elected a member of the Town Council. Here he married Elizabeth Lämmerhirt, the daughter of a furrier, and a relation of Hedwig the wife of Johann (No. 4). He now moved to Eisenach, and was succeeded at Erfurt by his cousin Ægidius (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 Bach brothers are referred to as being “gifted with good understanding, with art and skill, which make 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 Günther 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 Consistory (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.”[3] 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 Gräser, the town musician, and Johann Christoph Bach led to the dismissal of all the Court musicians on account of the disunion which made it impossible 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 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).

The orchestra at Arnstadt

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.

J. Christoph Bach

Johann Christoph Bach (No. 13) was born at Arnstadt, and studied under his father Heinrich (No. 6). He was appointed organist at Eisenach in 1665, which post he held till his death sixty 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.

A Church Cantata

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.

An organist’s income

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 examination, the authorities thanked the Count for having sent them a peaceable, retiring, and skillful performer. He was also made parish clerk, and his income from the two posts amounted to 74 gülden, 18 cords of wood, 5 measures of corn, 9 measures of barley, 3½ barrels of beer, some land, and a house free of rent. Besides being a composer he made clavichords and violins. His 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 ingenious ideas.”[4] 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 compositions overcomes us with irresistible power, and one forgets the imperfection of the body in the beauty of the soul which shines through.”[5] Four of the motets are for double chorus and in some one can feel “the romantic spirit of Sebastian Bach.”

Other Bachs

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

Johann Jacob Bach (No. 16) 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 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 arrangements. 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. 19) was “Raths-Musikdirector” (Town Council Musical-director) at Erfurt, in succession to Ægidius.

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.[6]

More of the Family

Johann Jacob Bach (No. 25) entered the Swedish 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 composer, 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 Mühlhausen, 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 capellmeister 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 Günther Bach (No. 36) was tenor singer and schoolmaster at Erfurt.

Johann Ernst Bach (No. 37) studied law and became 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 schoolmaster, as did also his brother Johann Ægidius (No. 39). Of Wilhelm Hieronymus (No. 40), nothing is known.

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 Udestadt, near Erfurt.

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

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

Johann Heinrich Bach (No. 47) was cantor at Oehringen, in Würtemburg, and musician to Count Höhenlohe; while Johann Andreas Bach (No. 48) was oboist at Gotha, and afterwards organist at Ohrdruf.

Sons of J. S. Bach

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 Söhne Sebastian Bachs,” published by Breitkopf and Härtel, 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 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.

W. F. Bach as an organist

Fétis 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 elevated, 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.

The Berlin Bach

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 Hamburg in succession to Telemann 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 Fétis, among the most important of which are those for clavier, and his “Attempt to explain the 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 accompaniment 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; but Bitter shows that he was an artist, and was brought up as a practical musician, his scientific studies being secondary to music.

Emanuel’s position in musical history

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 splendour, and organ and clavier-playing 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 considers 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 the post of organist at Mühlhausen 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 Gottlieb 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 “Bückeburger Bach” from his holding a post as Chamber musician to Count von Lippe at Bückeburg. He composed 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.

The English Bach

J. Christian Bach

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 of his father), he went to his brother Emanuel at Berlin. When his education was completed 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 concert songs. His clavier works were chiefly written for 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 of 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.

Family meetings

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.

Vater unser im Himmelreich.

The Creed.

Wir glauben all’ an einen Gott.

Easter Song.

Jesus Christus unser Heiland.

Baptism Song.

Christ unser Herr, zum Jordan kam.

The Ten Commandments.

Mensch willt du leben seliglich.

Chapter II

Bach’s attitude towards art—His birth—Death of his father—Removal to Ohrdruf—Performances in the Ohrdruf choir—Removal to Lüneburg—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 competes for a new post.

Bach’s attitude towards Art

The life and character of John Sebastian Bach have a peculiar 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 compositions were rarely performed outside the church or place for which they were composed. “The sole object 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.

The House at Eisenach in which J. S. Bach was born

He was born on or about March 31st, 1685[7] 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 of 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.

Goes to Ohrdruf

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 Ohrdruf and had married, now undertook to 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.

Boyhood Promise

At Ohrdruf he joined the Lyceum,[8] 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.[9] He became one of the principal singers, and had a fixed salary.

St Michael’s Church, Ohrdruf with the Lyceum, now the Burgerschule

Thrown on his own resources

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 of the Lyceum, he went to the school of the convent of St Michael at Lüneburg, accompanied by his friend Georg Erdmann, about Easter 1700, and both were admitted to the choir as discantists with a salary. Bach’s voice soon broke, but he remained three years at Lüneburg 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.

Lüneburg, 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.

Earnest Student

Bach, being now above want, devoted the whole of 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 composers up to that period—Hammerschmidt, Scheidt, Ahle, Briegel, Schütz, Rosenmüller, Michael, Schop, Jeep, Krieger, Selle, Crüger, 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 Böhm, 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 his school were “technical neatness, pleasing ingenuity, and a taste for subtle effects of tone.”[10]

Bach was now learning all he could from Böhm, but in order to further advance himself he made several expeditions to Hamburg on foot, a distance of some 25 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 compositions of which Spitta mentions three as showing Reinken’s influence; organ arrangements of the two chorales “Es ist gewisslich an der Zeit,”[11] “An Wasserflüssen Babylon”;[12] 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 Lüneburg is Celle, where the ducal court maintained a band which played French dance music, and where also French harpsichord music was held in considerable estimation. He took frequent opportunities of 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,”[13] were composed at Lüneburg, since they were certainly early works, and show the influence of Böhm, in the elaboration of the motives and the use of basso ostinato, &c. It would seem that there was no good organ at Lüneburg, 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.

First appointment

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 Börner, a man of no great attainments. The Consistory heard him, and, at once dismissing Börner, offered Bach the post: a high-handed proceeding, which they softened by making Börner “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 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 service on Mondays; so that he had ample leisure for study.

The Keyboards of Bach’s Arnstadt Organ now in the Rathhaus

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. Quintatön, 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.[14]
• 2. Still gedact, 8.
• 3. Spitzflöte, 4.
• 4. Quint, 3.
• 5. Sesquialtera.
• 6. Nacht-horn, 4 ft.
• 7. Mixture, 4 ranks.
• 8. Octava, 2 ft.
• 9. Glockenaccord.

Pedal.

• 1. Principal, 8 ft.
• 2. Sub-bass, 16.
• 3. Posaune, 16.
• 4. Violon bass, 16.
• 5. Octava, 2.
• Couplers for manuals and pedals.[15]

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

First Cantata

The cantata for the first day of Easter, “Denn du wirst meine Seele nicht in der Hölle lassen,” which was afterwards remodelled for use at Leipsic, was composed at Arnstadt, probably for Easter 1704.[16] 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 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 recitative, a duet for soprano and alto in Italian aria form,[17] 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.”[18]

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

Visit to Lübeck

Towards the end of 1705 Bach determined to go to Lübeck to hear and study the style of Buxtehude, one of the greatest organists then living. He 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 December, which were peculiar to Lübeck, and which Buxtehude had worked up to a high pitch of excellence. They consisted of sacred music both vocal and instrumental, with organ solos.[19]

Cited to Appear

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 Lübeck in order to learn things connected with his art, but that he had previously asked permission from the Herr Superintendent.”

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 variations 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 contrarium. 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 undertake it can be appointed to the post.”

Ille.

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

Resolvitur.

Explanations Needed

“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 Superintendent, he at once went quite to the opposite extreme and has made it too short.”

Ille.

“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, 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 life of Lübeck 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.”

Ille.

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

Ille.

“Has already spoken about it to Master Uthe.”[20]

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,[21] 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.

Second appointment