Johann Sebastian Bach was born on March 21, 1685,(43) at Eisenach, where
his father, Johann Ambrosius Bach, was Court and Town Musician.(44) Johann
Ambrosius had a twin brother, Johann Christoph, Musician to the Court and
Town of Arnstadt,(45) who so exactly resembled him that even their wives
could distinguish them only by their dress. The twins appear to have been
quite remarkable. They were deeply attached, alike in disposition, in
voice, and in the style of their music. If one was ill, so was the other.
They died within a short time of each other, and were objects of wondering
interest to all who knew them.(46)
In 1695, when Johann Sebastian was not quite ten years old, his father
died. He lost his mother at an earlier period.(47) So, being left an
orphan, he became dependent on his eldest brother, Johann Christoph,
Organist at Ohrdruf,(48) from whom he received his earliest lessons on the
Clavier.(49) His inclination and talent for music must already have been
pronounced. For his brother no sooner had given him one piece to learn
than the boy was demanding another more difficult. The most renowned
Clavier composers of that day were Froberger,(50) Fischer,(51) Johann
Caspar Kerl,(52) Pachelbel,(53) Buxtehude,(54) Bruhns,(55) and Böhm.(56)
Johann Christoph possessed a book containing several pieces by these
masters, and Bach begged earnestly for it, but without effect. Refusal
increasing his determination, he laid his plans to get the book without
his brother’s knowledge. It was kept on a book-shelf which had a latticed
front. Bach’s hands were small. Inserting them, he got hold of the book,
rolled it up, and drew it out. As he was not allowed a candle, he could
only copy it on moonlight nights, and it was six months before he finished
his heavy task. As soon as it was completed he looked forward to using in
secret a treasure won by so much labour. But his brother found the copy
and took it from him without pity, nor did Bach recover it until his
brother’s death soon after.(57)
Being once more left destitute,(58) Johann Sebastian set out for Lüneburg
with one of his Ohrdruf schoolfellows, named Erdmann(59) (afterwards
Russian Resident at Danzig), and entered the choir of St. Michael’s
Convent. His fine treble voice procured him a fair livelihood. But
unfortunately he soon lost it and did not at once develop another. (60)
Meanwhile his ambition to play the Organ and Clavier remained as keen as
ever, and impelled him to hear and practise everything that promised him
improvement. For that purpose, while he was at Lüeburg, he several times
travelled to Hamburg to hear the famous organist,(61) Johann Adam
Reinken.(62) Often, too, he walked to Celle to hear the Duke’s French band
play French music, which was a novelty in those parts.(63)
The date and circumstances of his removal from Lüneburg to Weimar are not
precisely known.(64) He certainly became Court Musician there in 1703,
when he was just over eighteen years of age.(65) But in the following year
he gave up the post on his appointment as Organist to the new Church at
Arnstadt, probably desiring to develop his taste for the Organ and
realising that he would have better opportunities to do so at Arnstadt
than at Weimar, where he was engaged simply to play the Violin.(66) At
Arnstadt he set himself assiduously to study the works of the celebrated
organists of the period, so far as his modest means permitted him, and in
order to improve himself in composition(67) and Organ playing,(68) walked
the whole way to Lübeck to hear Dietrich Buxtehude, Organist of St. Mary’s
Church in that city, with whose compositions he was acquainted already. He
remained there about three months,(69) listening to the celebrated
Organist, but without making himself known to him, and returned to
Arnstadt with his experience much increased.
Bach’s zeal and persevering diligence had already drawn attention to him,
as is evident from the fact that he received in succession several offers
of vacant organistships, one of which, at the Church of St. Blasius,
Mühlhausen, he accepted in 1707.(70) Barely a year after he entered upon
his duties there(71) he again visited Weimar and played to the Duke, who
was so pleased with his performance that he offered him the post of Court
Organist, which he accepted.(72) Weimar promised him a particularly
agreeable atmosphere in which to cultivate his genius.(73) He applied
himself closely to his work, and probably at this period achieved the
mastery of the Organ that he ever afterwards possessed. At Weimar also he
wrote his great compositions for that instrument.(74) In 1717(75) the Duke
appointed him Concertmeister, a post which gave him further opportunity to
develop his art, since it required him to compose and direct Church music.
It was about this time that Zachau, Handel’s master, died at Halle, where
he was Organist.(76) Bach, who by now had acquired a great reputation, was
invited to succeed him.(77) He visited Halle and composed a work as a
specimen of his skill But for some reason unknown he did not obtain the
post. It was given to a clever pupil of Zachau, named Kirchhoff.(78)
Johann Sebastian was now thirty-two years old. He had made good use of his
opportunities, had studied hard as a player and composer, and by tireless
enthusiasm had so completely mastered every branch of his art, that he
towered like a giant above his contemporaries. Both amateurs and
professional musicians already regarded him with admiration when, in 1717,
Marchand, the French virtuoso, a celebrated Clavier and Organ player,
visited Dresden. He played before the King-Elector(79) and won such
approbation that he was offered a large salary to enter His Majesty’s
service.(80) Marchand’s chief merit was his finished technique. Like
Couperin,(81) his musical ideas were weak to the point of banality, as we
may judge from his compositions.(82) Bach was an equally finished player,
and so rich in ideas that Marchand’s head would have swollen had he been
equally gifted. Volumier, Concertmeister at Dresden,(83) was aware of
these circumstances, and knowing that the young German had his instrument
and his imagination under the fullest control, determined to arrange a
contest between the two men in order to give his sovereign the
satisfaction of judging their merits. With the King’s approbation, a
message was dispatched to Bach at Weimar(84) inviting him to a contest
with Marchand. Bach accepted the invitation and set out at once on his
journey. Upon his arrival at Dresden Volumier procured him an opportunity
to hear Marchand secretly. Far from being discouraged by what he heard,
Bach wrote a polite note to the French artist challenging him to a trial
of skill, and offering to play at sight anything Marchand put before him,
provided the Frenchman submitted himself to a similar test. Marchand
accepted the challenge, a time and place for the contest were fixed, and
the King gave his approval. At the appointed hour a large and
distinguished company assembled in the house of Marshal Count
Flemming.(85) Bach arrived punctually; Marchand did not appear. After
considerable delay he was sought at his lodging, when it was discovered,
to the astonishment of all, that he had left Dresden that morning without
taking leave of anybody. Bach therefore performed alone, and excited the
admiration of all who heard him, though Volumier was cheated of his
intention to exhibit the inferiority of French to German art. Bach was
overwhelmed with congratulations; but the dishonesty of a Court official
is said to have intercepted a present of one hundred louis d’or sent to
him by the King.(86)
Bach had not long returned to Weimar when Prince Leopold of Anhalt-Cöthen,
a good judge of music and a first-rate amateur,(87) offered him the post
of Kapellmeister. He entered at once upon his new office(88) and held it
for about six years.(89) At this period, about 1722,(90) he visited
Hamburg, played the Organ there, and excited general admiration. The
veteran Reinken—he was nearly one hundred years old—was particularly
impressed by Bach’s performance. After he had treated the Choral _An
Wasserflüssen Babylon_ for half an hour in variation after variation in
the true Organ style,(91) Reinken paid him the compliment of saying, “I
thought this art was dead, but I see that it survives in you.” Reinken
had treated the same Choral in a similar manner some years before and had
had his work engraved, showing that he thought highly of it. His praise
therefore was particularly flattering to Bach.(92)
On the death of Kuhnau in 1723(93) Bach was appointed Director of Music
and Cantor to St. Thomas’ School, Leipzig,(94) a position which he
occupied until his death. Prince Leopold of Anhalt-Cöthen had great
regard for him and Bach left his service with regret.(95) But he saw the
finger of Providence in the event; for the Prince died shortly
afterwards.(96) The loss of his patron affected him deeply, and moved him
to compose a funeral Cantata containing remarkably fine double choruses
which he himself conducted at Cöthen.(97) While he was at St. Thomas’ he
was appointed honorary Kapellmeister to the Duke of Weissenfels(98) and,
in the following year (1736), received the title of Court Composer to the
King-Elector of Poland-Saxony.(99) The two compliments are not of great
consequence, and the second was to some degree corollary to Bach’s
position as Cantor of St. Thomas’ School.(100)
Carl Philipp Emmanuel, Bach’s second son, entered the service of Frederick
the Great of Prussia in 1740. So widely was Bach’s skill recognised by
this time that the King, who often heard him praised, was curious to meet
so great an artist. More than once he hinted to Carl Philipp Emmanuel
that it would be agreeable to welcome his father to Potsdam, and as Bach
did not appear, desired to know the reason. Carl Philipp did not fail to
acquaint his father with the King’s interest. But for some time Bach was
too occupied with his duties to accede to the invitation. However, as
Carl Philipp continued to urge him, he set out for Potsdam towards the end
of 1747, in company with his eldest son, Wilhelm Friedemann.(101) It was
the King’s custom to hold a private concert every evening, and to take
part on the flute in a Concerto or two. One evening,(102) when he had got
out his flute and the musicians were at their desks, an official brought
him a list of the strangers newly arrived at Potsdam. Flute in hand the
King ran through the names, and suddenly turning to the waiting musicians,
said with considerable excitement, “Gentlemen, Old Bach has arrived.” The
flute was put away for the evening, and Bach, who had alighted at his
son’s lodging, was summoned immediately to the Palace. Wilhelm
Friedemann, who accompanied his father, often told me the story. Nor am I
likely to forget the racy manner in which he related it. The courtesy of
those days demanded rather prolix compliments, and the first introduction
of Bach to so illustrious a monarch, into whose presence he had hurried
without being allowed time to change his travelling dress for a Cantor’s
black gown, obviously invited ceremonial speeches on both sides. I will
not dwell on them; Wilhelm Friedemann related a lengthy and formal
conversation between the King and the Cantor.(103)
More worthy of record is the fact that the King gave up his concert for
that evening and invited Bach, already known as “Old Bach,” to try the
Silbermann pianofortes(104) which stood in various parts of the
Palace.(105) Accompanied from room to room by the King and the musicians,
Bach tried the instruments and improvised upon them before his illustrious
companion. After some time he asked the King to give him a subject for a
Fugue, that he might treat it extempore. The King did so, and expressed
his astonishment at Bach’s profound skill in developing it. Anxious to
see to what lengths the art could be carried, the King desired Bach to
improvise a six-part Fugue. But as every subject is not suitable for
polyphonic treatment, Bach himself chose a theme and, to the astonishment
of all who were present, developed it with the skill and distinction he
had shown in treating the King’s subject. His Majesty expressed a wish to
hear him on the Organ also. Accordingly, next day, Bach inspected all the
Organs in Potsdam,(106) as the evening before he had tried the Silbermann
pianofortes. On his return to Leipzig he developed the King’s theme in
three and six parts, added Canones diversi upon it, engraved the whole
under the title _Musikalisches Opfer_ and dedicated it to the royal author
of the theme.(107)
His visit to Potsdam was Bach’s last journey. The indefatigable diligence
he had shown all his life, and particularly in his younger years, when
successive days and nights were given to study, seriously affected his
eye-sight. The weakness grew with age and became very distressing in
character. On the advice of friends who placed great confidence in the
skill of a London oculist lately come to Leipzig,(108) Bach submitted to
an operation, which twice failed. He lost his sight completely in
consequence, and his hitherto vigorous constitution was undermined by the
drugs administered to him. He sank gradually for full half a year, and
expired on the evening of July 30, 1760, in the sixty-sixth year of his
age.(109) Ten days before his death(110) he was suddenly able to see again
and to bear the light. A few hours later he was seized by an apoplexy and
inflammatory fever, and notwithstanding all possible medical aid, his
weakened frame succumbed to the attack.
Such was the career of this remarkable man. I will only add that he was
twice married, and that he had by his first wife seven, and by his second
wife thirteen children; in all, eleven sons and nine daughters.(111) All
of his sons had an admirable talent for music, but only the elder ones
fully developed it.(112)
[The Church and School of St. Thomas, Leipzig, in 1723.]
The Church and School of St. Thomas, Leipzig, in 1723.
CHAPTER IIA.(113) BACH AT LEIPZIG, 1723-1750
Bach was inducted into his office as Cantor of St. Thomas’ School at nine
o’clock on the morning of Monday, May 31, 1723. He died in his official
residence there at a quarter to nine on the evening of Tuesday, July 28,
1750. He was buried early on the morning of Friday, July 31, in the
churchyard of St. John’s, Leipzig.
The announcement of his death, made from the pulpit of St. Thomas’ on the
day of his funeral, described him as “Court Composer to His Majesty the
King of Poland and Electoral and Serene Highness of Saxony, Kapellmeister
to His Highness the Prince of Anhalt-Cothen, and Cantor to St. Thomas’
School of this town.” Bach usually designated himself “Director Chori
Musici Lipsiensis,” or shortly, “Director Musices.” Circumstances led him
to emphasise a title which asserted a musical prerogative not confined to
the School and the churches it served.
The Cantor of St. Thomas’ was charged formerly with the musical direction
of four Leipzig churches: St. Thomas’, St. Nicolas’, St. Peter’s, and the
New Church. He was also responsible for the music in the University
Church of St. Paul, the so-called “old service,” held originally on the
Festivals of Easter, Whit, Christmas, and the Reformation, and once during
each University quarter. On high days music also had to be provided at St.
John’s Church.
Bach, as Cantor, succeeded to a more restricted responsibility, which
dated from the early years of the eighteenth century. The New Church,
originally the Church of the Franciscans, had been restored to use in
1699. In 1704 Georg Philipp Telemann, who came to Leipzig as a law
student three years before, was appointed Organist there. He also founded
the Collegium Musicum, or University Musical Society, a farther slight
upon the Cantor’s position. Not until 1729 did the Society pass under
Bach’s direction and its members become available as auxiliaries in the
church choirs under his charge. Notwithstanding that Bach’s predecessor
Kuhnau had protested against Telemann’s independence, the direction of the
New Church’s music passed out of the Cantor’s control, though the School
continued to provide the choristers. Six years later the University
Church of St. Paul also began an independent course. In 1710 the
authorities resolved to hold a University service in the church every
Sunday. Kuhnau asserted his prerogative as Cantor. But he was only able to
maintain it by offering to provide the music for the “new service” as well
as for the “old service” at the fee of twelve thalers which the University
so far had paid for the latter. After his death the University appointed
(April 3, 1723) Johann Gottlieb Görner, already Organist of St. Nicolas’
since 1721, to control the music both of the “old” and “new” services, for
which the University provided the choir. Not until after a direct appeal
to the King did Bach succeed, in 1726, in compelling the University to
restore to the Cantor his emoluments in regard to the “old service,” the
conduct of which had been restored to him on his appointment as Cantor.
The “new service” remained under Görner’s direction. As to St. Peter’s,
its services, which had entirely ceased, were revived in 1711. The music,
however, was simple, and consisted only of hymns.
Thus Bach, as Cantor, was responsible for the music in the two principal
churches, St. Thomas’ and St. Nicolas’. The School also provided the
choir for St. Peter’s and the New Church. The junior and least competent
singers sang at St. Peter’s. The rest were pretty equally distributed
between the other three churches. At the New Church the music was
performed under the direction of a Chorpräfect. At St. Thomas’ and St.
Nicolas’ Bach personally directed the concerted music. On ordinary
Sundays a Cantata or Motet was performed in each church alternately. At
the great Festivals, New Year, Epiphany, Ascension Day, Trinity Sunday,
and the Annunciation, Cantatas were sung at both churches, the two choirs
singing at Vespers in the second church the Cantata performed by them in
the morning at the other church. On these occasions the second choir was
conducted by a Chorpräfect. The principal Sunday service in both churches
began at seven in the morning, ended at eleven, and observed the following
order:
1. Organ Prelude.
2. Motet, related to the Gospel for the Day; (omitted in Lent and
replaced by the Benedictus).
3. Introit.
4. Kyrie, sung alternately, in German and Latin.
5. The Lord’s Prayer, intoned at the altar.
6. Gloria, intoned at the altar and answered either by the Choir’s
Et in terra pax hominibus, or by the congregation with the Hymn,
Allein Gott in der Höh’ sei Ehr, the German version of the Gloria.
7. Collect, intoned in Latin; preceded by the preces Dominus
vobiscum and Et cum spiritu tuo.
8. Epistle.
9. Litany, in Advent and Lent only; intoned by four boys, the Choir
responding.
10. Hymn, appropriate to the Gospel.
11. Gospel.
12. Credo, intoned; (in Lent, last three Sundays of Advent, and
Festivals of Apostles, the Nicene Creed, sung in Latin).
13. Prelude, followed by a Cantata, lasting about twenty minutes; on
alternate Sundays in each church.
14. The Creed in German, Wir glauben all’ an einen Gott, sung by the
congregation.
15. Sermon, lasting one hour (8-9 A.M.).
16. Hymn, Herr Jesu Christ, dich zu uns wend, followed by the
reading of the Gospel, on which the Sermon had been based.
17. General Confession, prayers, and Lord’s Prayer.
18. Blessing.
19. Hymn.
20. Communion Service; Hymns and Organ extemporisation.
21. Benediction.
Vespers began at a quarter past one and was a comparatively simple
service; the music consisted of Hymns, a Motet, and the Magnificat. On the
last three Sundays in Advent and throughout Lent neither Cantatas nor
Motets were sung. The Organ was silent. On the three great Festivals the
appointed Hymn for the season was sung at the beginning of the principal
service, before the Organ Prelude: at Christmas, Puer natus in Bethlehem;
at Easter, Heut’ triumphiret Gottes Sohn; at Whitsuntide, Spiritus Sancti
gratia. During the Communion service the Sanctus and concerted music were
sung. A festal hymn followed the Benediction. The three great Festivals
were each observed for three consecutive days, on the first and second of
which Cantatas were sung at both churches. On the third day concerted
music was sung at only one of the two churches.
The other week-day Festivals for which Cantatas were provided were the
Feast of the Circumcision (New Year’s Day), Epiphany, Ascension Day,
Purification of the B.V.M., Annunciation of the B.V.M., Visitation of the
B.V.M., Feast of St. John Baptist (Midsummer Day), Feast of St. Michael
the Archangel. The Reformation Festival was kept on October 31, or if that
date was a Saturday or Monday, on the previous or following Sunday.
On Good Friday the Passion was performed in the two principal churches
alternately. Leipzig adopted no official Hymn-book. The compilation from
which the Hymns were chosen by Bach was the eight-volumed Gesangbuch of
Paul Wagner, published at Leipzig for Dresden use in 1697. It contained
over five thousand Hymns but no music, merely the name of the tune being
stated above the Hymn. For the most part the Hymns for special, and even
for ordinary, occasions were prescribed by custom. Otherwise the power of
selection was in the hands of the Cantor, and Bach’s exercise of it caused
some friction with the clergy in 1728.
The provision and direction of the music at weddings and funerals was in
the Cantor’s hands. He arranged the choirs and the music sung at the
scholars’ annual processions and perambulations of the town, which took
place at Michaelmas, New Year, and on St. Martin’s and St. Gregory’s Days.
Augmenting the School’s choristers, the Town Musicians took part in the
Church services and were under the Cantor’s direction. Their numbers and
efficiency were inadequate.
Upon the staff of the School the Cantor ranked third after the Rector and
Sub-Rector, and took a share in the general instruction of the scholars.
Class III. went to Bach for Latin lessons, a duty which the Council
eventually permitted him to fulfil by deputy. Singing classes were held
by the Cantor on three days of the week, Mondays, Tuesdays, and
Wednesdays, at nine and noon, and on Fridays at noon. His instruction in
singing was given to the four upper classes only. On Saturday afternoons
the Cantata was rehearsed. Once in four weeks the Cantor took his turn to
inspect the scholars. Like the other masters, he was required to conform
to the regulations of the School House, in which he lived. He rose at
five in summer, at six in winter, dined at ten and supped at five in the
afternoon.
Holidays were numerous. A week’s vacation was given at the Easter,
Michaelmas, and New Year Fairs. At Midsummer the School had a month of
half-holidays. Whole holidays were given on the birthdays of the four
upper masters. There were no morning lessons on Saints’ Days, on the
occasion of funeral orations in the University Church, and on the
quarterly Speech Days. Hence, though Bach’s office carried large
responsibility, it left him considerable leisure for composition.
As Cantor Bach had an official residence in the left wing of the School
House. In 1723, the Cantor’s wing was of two storeys only, dwarfed by the
greater elevation of the main edifice and under the shadow of the church.
Bach brought to Leipzig four children of his first marriage, and his
second wife, Anna Magdalena, presented him with a son or daughter annually
from 1723 to 1729. The accommodation of the Cantor’s lodging therefore
rapidly became inadequate. In the spring of 1731 Bach found a house
elsewhere while an additional storey was added to it, which provided a new
music-room, a good-sized apartment whence a passage led to the big
schoolroom in the main building. The new wing was formally opened and
dedicated on June 5, 1732, when Bach’s secular Cantata Froher Tag,
verlangte Stunden was performed; the libretto being by his colleague
Winkler. From thenceforward till his death eighteen years later Bach’s
occupancy was not disturbed. The wing continued to be the official
residence of the Cantor until the School moved to the suburbs of the city
in 1877.
In addition to his residence, which he occupied rent free, the Cantor
enjoyed a revenue from various and fluctuating sources, amounting in gross
to 700 thalers (=£106 per annum). His fixed stipend was only 100 thalers
(=£15). About 12 thalers came to him from endowments. In kind he was
entitled to 16 bushels of corn and 2 cords of firelogs, together with 2
measures of wine at each of the three great Festivals. From the
University, after his successful protest, he received 12 thalers for
directing the “old service.” By far the larger part of Bach’s income was
derived from fluctuating sources. They were of three kinds: (1) School
monies, (2) funeral fees, (3) wedding fees. The School monies represented
perquisites derived from funds obtained by the scholars, partly by their
weekly collections from the public, partly from the four annual
processions or perambulations of the city. From the weekly collections a
sum of six pfennigs multiplied by the number of the scholars was put aside
for the four upper masters, among whom the Cantor ranked third. From the
money collected at the New Year, Michaelmas, and St. Martin’s Day
processions the Rector took a thaler, the Cantor and the Sub-Rector each
took one-eleventh of the balance, sixteen thirty-thirds went to the
singers, and one-quarter of what remained fell to the Cantor. Out of the
money collected on St. Gregory’s Day (March 12) the Rector took one-tenth
for the entertainment of the four upper masters, and the Cantor took
one-third of the residue. For funerals one thaler 15 groschen was paid
when the whole school accompanied the procession and a Motet was sung at
the house of the deceased. When no Motet was sung the Cantor’s fee was 15
groschen. For weddings he received two thalers.
Reckoned in modern currency, and judged by the standard of the period, the
Cantor’s income was not inadequate and served to maintain Bach’s large
family in comfort. When he died in 1750, in addition to a mining share
valued at 60 thalers, he possessed in cash or bonds about 360 thalers,
silver plate valued at 251 thalers, instruments valued at 371 thalers,
house furniture valued at 29 thalers, and books valued at 38 thalers. His
whole estate was declared at 1158 thalers, or somewhat less than the
savings of two years’ income. But for the inequitable distribution of his
property, owing to his intestacy, which left Anna Magdalena only about 400
thalers and the mining share, Bach’s widow and unmarried daughters ought
not to have been afflicted with excessive poverty, as in fact they were.
At the beginning of his Cantorate Bach worked amid discouraging and
unsatisfactory conditions. The Rector, Johann Heinrich Ernesti, was over
seventy years of age in 1723. The School was badly managed, its
discipline was relaxed, the better-to-do citizens withheld their sons from
it, and its numbers were seriously diminished. In 1717 the junior classes
contained only 53 as against 120 in Ernesti’s earlier years. The
proximity and operatic traditions of Dresden and Weissenfels also had a
bad effect; the St. Thomas’ boys, after attaining musical proficiency,
were apt to become restless, demanding release from their indentures, and
even running away to more attractive and lucrative occupations. Moreover,
the governors of the School were the Town Council, a body which had little
sympathy with or appreciation of Bach’s artistic aims and temperament. To
these difficulties must be added another. The Town Musicians, on whom
Bach relied for the nucleus of his orchestra, were few in number and
inefficient.
So long as Ernesti lived, there was little prospect of reform. But, after
his death, in October 1729, Bach made vigorous representations to the Town
Council. Already he had remonstrated with the Council for presenting to
foundation scholarships boys who lacked musical aptitude. The Council
retaliated by accusing Bach of neglecting his singing classes, absenting
himself without leave, and of other irregularities. He was declared to be
“incorrigible” and it was resolved (August 2, 1730) to sequestrate the
Cantor’s income, in other words, to withhold from him the perquisites to
which he was entitled for the conduct of the Church services.(114)
Bach was not deterred from offering, three weeks later (August 23, 1730),
a “sketch of what constitutes well-appointed Church music, with a few
impartial reflections on its present state of decay” in Leipzig. The
document reveals the conditions amid which Bach worked. Its
representations may be summarised:
The foundation scholars of St. Thomas’ are of four classes: Trebles,
Altos, Tenors, Basses.
A choir needs from four to eight “concertists” ( solo singers) and at
least two “ripienists” to each chorus part, i.e. a minimum of twelve
voices.
The foundation scholars number fifty-five, by whom the choirs of the four
Churches, St. Thomas’, St. Nicolas’, St. Peter’s, and the New Church are
provided. For the instrumental accompaniments at least twenty players are
required: viz., 2 or 3 first Violins, 2 or 3 second Violins, 4 Violas, 2
Violoncelli, 1 Contrabasso, 2 or more Flutes, 2 or 3 Oboi, 1 or 2 Fagotti,
3 Trombe, 1 Timpani. To fill these places there are eight Town Musicians,
and at the moment there are no players available for third Tromba,
Timpani, Viola, Violoncello, Contrabasso, third Oboe (or Taille).
To augment the Town Musicians the Cantor has been wont in the past to
employ University students and instrumental players in the School. Upon
the former “at all times” he relies for Viola, Violoncello, and
Contrabasso, and “generally” for the second Violins. But the Council, by
its recent resolution, no longer affords the Cantor the means to employ
them. To place the scholars in the orchestra weakens the choir, to which
they naturally belong.
By presenting to foundation scholarships boys unskilled and ignorant of
music, the resources at the Cantor’s disposal are still farther lessened.
Hence, Bach concludes, “in ceasing to receive my perquisites I am deprived
of the power of putting the music into a better condition.”
No answer was made to Bach’s memorial, and he contemplated resigning his
position. But with the advent of Johann Matthias Gesner as Rector in
September 1730 a happier period dawned upon the “incorrigible” Cantor. In
1732 Gesner procured the withdrawal of the Council’s ban on Bach’s
perquisites. The fallen fortunes of the School revived, and Bach did not
again make an effort to leave Leipzig. In 1736 the grant of the post of
Hof-Componist to the Saxon Court gave him at length a title which
compelled the deference of his civic masters.
Bach’s early misunderstanding with the University cut him off from
association with the most dignified, if not the most important,
institution in Leipzig, and deprived him of opportunity to display his
genius beyond the radius of his Church duties. The situation changed in
1729, when he became director of the University Society, and he held the
post for about ten years. The Society gave weekly concerts on Fridays,
from 8 to 10, and an extra concert, during the Fair season, on Thursdays
at the same hour. It performed vocal and instrumental music and was the
medium through which Bach presented his secular Cantatas, Clavier and
Violin Concertos, and Orchestral Suites to the public. The proficiency of
his elder sons and pupils, and his wife’s talent as a singer, were a
farther source of strength to the Society, whose direction undoubtedly
made these years the happiest in Bach’s life. He took his rightful place
in the musical life of the city, and relegated to a position of
inferiority the smaller fry, such as Görner, who had presumed on Bach’s
aloofness from the University and Municipality to insinuate themselves.
His increasing reputation as an organist, gained in his annual autumn
tours, also enlightened his fellow-townsmen regarding the superlative
worth of one whom at the outset they were disposed to treat as a
subordinate official.
The Leipzig of Bach’s day offered various opportunities for musical
celebration; official events in the University, “gratulations” or
“ovations” of favourite professors by their students, as well as patriotic
occasions in which town and gown participated. The recognised fee for
piecès d’occasion of a public character was fifty thalers. Bach’s
conductorship of the University Society enabled him to perform festival
works with the resources they required, and to augment the band and chorus
needed for their adequate performance.
Even before he undertook the direction of the University Society, Bach
more than once provided the music for University celebrations. On August
3, 1725, his secular Cantata, _Der zufried-engestellte Aeolus,_ was
performed at the students’ celebration of Doctor August Friedrich Müller’s
name-day. In 1726 he revived an old Cantata(115) to celebrate the
birthday of another of the Leipzig teachers. In the same year the
appointment of Dr. Gottlieb Kortte as Professor of Roman Law was
celebrated by Bach’s Cantata _Vereinigte Zwietracht der wechselnden
Saiten._ In 1733 the birthday of another Professor was marked by the
performance of the Cöthen Cantata to yet another text (_Die Freude reget
sich_). On November 21, 1734, the lost Cantata _Thomana sass annoch
betrübt_ was sung at the induction of Gesner’s successor, Johann August
Ernesti, as Rector of St. Thomas’ School.
But Bach’s activity as a secular composer at Leipzig was chiefly expended
on patriotic celebrations. His compositions of this character are
particularly numerous during the years 1733-36, while he was seeking from
the Dresden Court the post of Hof-Componist. The first of these
celebrations took place on May 12, 1727, the birthday of Augustus II. of
Poland-Saxony, when Bach’s Cantata, _Entfernet euch, ihr heitern Sterne,_
was performed in the Market Place by the University Society. The King was
present and listened to the performance from a convenient window. The
music is lost. Six years elapsed before Bach was invited to collaborate
in another celebration of the royal House. On September 5, 1733, less
than two months after his application for the post of Hof-Componist, the
University Society celebrated the eleventh birthday of the Electoral
Prince by performing Bach’s dramma per musica, _Die Wahl des Herkules,_ or
_Herkules auf dem Scheidewege._ Barely three months later, on December 8,
1733, Bach produced another Cantata in honour of the royal family, _Tönet,
ihr Pauken, erschallet Trompeten,_ of which he was both author and
composer. On no less than three occasions in 1734 Bach did homage to his
unheeding sovereign. In January the University Society, under Bach’s
direction, performed his Cantata _Blast Larmen, ihr Feinde_ to celebrate
the coronation of Augustus III. The music had already done duty in Dr.
Müller’s honour in 1725. On the following October 5, 1734, when the King
visited Leipzig, Bach’s hurriedly written Cantata, _Preise dein Glücke,
gesegnetes Sachsen,_ whose first chorus became the Osanna of the B minor
Mass, was performed in the Market Place. Two days later, on October 7,
1734, the King’s birthday was celebrated by another Bach Cantata,
_Schleicht spielende Wellen,_ performed by the Collegium Musicum. In 1738,
having received the coveted title of Hof-Componist in the interval (1736),
Bach performed a work—_Willkommen, ihr herrschenden Götter der Erden_—now
lost, in honour of the marriage of the Princess Maria Amalia of Saxony to
Charles of Sicily, afterwards Charles III. of Spain.
Apart from his musical activities and the house in which he lived there is
little that permits us to picture Bach’s life at Leipzig. Association
with his friends Johann Christian Hoffmann, Musical Instrument Maker to
the Court, Marianne von Ziegler, J. C. Gottsched and his musical wife,
Johann Abraham Birnbaum, among the Professoriate, Picander and Christian
Weiss, Bach’s regular librettists, suggests the amenities of an academic
and literary circle. But the claims of his art and the care of his large
family had the first call upon Bach’s interest. And few men had a happier
home life. While his elder sons were at home the family concerts were
among his most agreeable experiences. As his fame increased, his house
became the resort of many seeking to know and hear the famous organist.
Late in the thirties he resigned his directorship of the University
Society. His sons were already off his hands and out of his house, and he
turned again to the Organ works of his Weimar period. Their revision
occupied the last decade of his life, and the hitherto constant flow of
Church Cantatas ceased. Pupils resorted to him and filled his empty house,
to one of whom, Altnikol, he gave a daughter in marriage.
A man of rigid uprightness, sincerely religious; steeped in his art,
earnest and grave, yet not lacking naive humour; ever hospitable and
generous, and yet shrewd and cautious; pugnacious when his art was
slighted or his rights were infringed; generous in the extreme to his wife
and children, and eager to give the latter advantages which he had never
known himself; a lover of sound theology, and of a piety as deep as it was
unpretentious—such were the qualities of one who towers above all other
masters of music in moral grandeur.
Four, perhaps only three, contemporary portraits of Bach are known. One
is in the possession of the firm of Peters at Leipzig and once belonged to
Carl Philipp Emmanuel’s daughter, who with inherited impiety sold it to a
Leipzig flute player. The second hung in St. Thomas’ School and is
reproduced at p. 48 of this volume. It was painted in 1746 and restored
in 1913. Both portraits are by Elias Gottlieb Haussmann, Court Painter at
Dresden. The third portrait belonged to Bach’s last pupil, Kittel, and
used to hang on the Organ at Erfurt, whence it disappeared after 1809,
during the Napoleonic wars. Recently Professor Fritz Volbach of Mainz has
discovered a fourth portrait, which is printed at p. 92 of the present
volume. He supposes it to be none other than the Erfurt portrait, as
indeed it well may be, since it represents a man of some sixty years,
austere in countenance, but of a dignity that is not so apparent in
Haussmann’s portraiture.(116)
Bach left no will. In consequence his widow, Anna Magdalena, burdened
with the charge of a step-daughter and two daughters, was entitled to only
one-third of her husband’s estate. Neither Carl Philipp Emmanuel nor
Wilhelm Friedemann was her own child. But the fact cannot excuse gross
neglect of their father’s widow. Her own sons were in a position to make
such a contribution to her income as would at least have kept want from
her door. In fact she was permitted to become dependent on public
charity, and died, an alms-woman, on February 27, 1760, nearly ten years
after her great husband. The three daughters survived her. One died in
1774, the second in 1781. The third, Regine Susanna, survived them, her
want relieved by gifts from a public that at last was awakening to the
grandeur of her father. Beethoven contributed generously. Regine Susanna
died in December 1809, the last of Bach’s children. In 1845 her nephew,
Johann Christoph Friedrich’s son, also died. With him the line of Johann
Sebastian Bach expired.
[Johann Sebastian Bach, circa 1746. From the picture by Haussmann.]
Johann Sebastian Bach, circa 1746. _From the picture by Haussmann._