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BACH
by
C. F. ABDY WILLIAMS
* * * * * *
The Master Musicians
EDITED BY
FREDERICK J. CROWEST.
[Illustration: Bach]
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_
* * * * * *
[Illustration: _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
[Illustration]
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
PAGE
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 Arnstadt--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 _quodlibet_ 1
CHAPTER II
Bach’s attitude towards art--His birth--The death of his father--Moves
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 20
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 competition
with Marchand 34
CHAPTER IV
Bach becomes capellmeister to the Duke of Cöthen--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
Matheson at the transaction--Bach endeavours to meet Handel--His
second marriage--Is obliged to leave Cöthen 48
CHAPTER V
The position 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 offers
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 Görner--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 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
disputes--Bach’s successor chosen during his lifetime--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 84
CHAPTER VIII
The Cantatas and the Chorale 91
CHAPTER IX
The Matthew Passion and B Minor Mass 114
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 Manieren or grace notes 144
CHAPTER XII
Innovations in the fingering and use of keyed and stringed
instruments 152
CHAPTER XIII
The organs in Leipsic churches--Bach’s method of accompanying--The
pitch of organs 160
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 reputation
was gained by his playing rather than compositions--Portraits--Public
monuments 170
CATALOGUE OF VOCAL WORKS 177
CATALOGUE OF INSTRUMENTAL WORKS 191
BIBLIOGRAPHY 202
GLOSSARY 205
List of Illustrations
PORTRAIT OF BACH, BY HAUSMANN (PHOTOGRAVURE) _Frontispiece_
PAGE
THE HOUSE AT EISENACH IN WHICH J. S.
BACH WAS BORN _To face_ 21
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 „ 59
ST THOMAS’ CHURCH, LEIPSIC: THE THOMASSCHULE
IS ON THE RIGHT „ 68
ST JOHN’S CHURCH, LEIPSIC „ 89
FACSIMILE OF MUSIC „ 132
THE PERFORMANCE OF A CHURCH CANTATA,
FROM WALTHER’S LEXICON, LEIPSIC, 1732 „ 204
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.
[Sidenote: _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).
[Sidenote: 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.”
[Sidenote: _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.
[Sidenote: 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).
[Sidenote: _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.
[Sidenote: _A Church Cantata_]
[Sidenote: 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. An important church work, describing
the strife between Michael and the Devil, “Es erhob sich ein Streit,”
is 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 instruments,
without trumpets and drums, something in the form of the French
overture. The work itself is modelled on those of Hammerschmidt, who,
with Schütz, 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 important 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 posterity.” 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.
[Sidenote: _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, 3-1/2
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.”
[Sidenote: 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]
[Sidenote: 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.
[Sidenote: 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.
[Sidenote: _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.
[Sidenote: _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.
[Sidenote: _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.
[Sidenote: _The English Bach_]
[Sidenote: 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.
[Sidenote: _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.
[Sidenote: A Quodlibet]
Hilgenfeldt quotes a quodlibet of the sixteenth century of which we
give a few bars:
[Music:
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.]
FOOTNOTES:
[1] See Glossary, “College of Instrumental Musicians.”
[2] 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.
[3] Spitta, vol. i. p. 162.
[4] Spitta, vol. i. p. 52.
[5] Spitta.
[6] During a visit to Ohrdruf in August 1899, Herr
Landrathamts-Secretär 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.