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.
[Sidenote: _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.
[Illustration: 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.
[Sidenote: _Goes to Ohrdruf_]
[Sidenote: Boyhood Promise]
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. His brother had made a
MS. collection of compositions by Froberger, Fischer, Kerl, Buxtehude,
Pachelbel, Bruhns, Böhm, and others, and this book was eagerly yearned
for by Sebastian. The MS. was kept in a bookcase, 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 until his brother’s death in 1721.
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.
[Sidenote: _Thrown on his own resources_]
[Illustration: St Michael’s Church, Ohrdruf with the Lyceum, now the
Burgerschule]
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.
[Sidenote: 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.
[Sidenote: _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.
[Illustration: 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.
[Sidenote: _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.
[Sidenote: _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]
[Sidenote: 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.”
[Sidenote: 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 Superintendent, 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, 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.”
THE CONSISTORY.
“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.
[Sidenote: _Second appointment_]
An important post at St Blasius, Mühlhausen, 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;[22] and
when Bach, whose friction with the Consistory 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
Musikdirector Möller.
FOOTNOTES:
[7] See Spitta, “Life of Bach,” vol. i. p. 181, note.
[8] The Lyceum is now the Burgerschule. It is shown in the photograph
on the left hand side.
[9] 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.
[10] Spitta, vol. i. p. 195.
[11] In a MS. collection in possession of F. A. Roitzsch of Leipsic.
[12] MS. in Lib. of R. Inst. for church music, Berlin.
[13] Peters, vol. 244.
[14] See Glossary, Positiv.
[15] The above list, which slightly differs from that of Spitta, was
taken from the existing stop handles.
[16] Spitta, vol. i. p. 231.
[17] _i.e._ like many of Handel’s songs, which have a da capo after the
change of key.
[18] For an account of these see J. G. Shedlock, “The Pianoforte
Sonata,” London, 1895.
[19] 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 Schieferdecker, who had been
harpsichord player in the opera at Hamburg.
[20] A preacher in the New Church.
[21] No. 14 in the Genealogical Table.
[22] This Walther was the author of the “Musikalisches Lexicon,”
Leipsic, 1732.