Students and admirers of Bach’s music have often wondered how he could have got boys to overcome the immense difficulties of its execution. They certainly complained of the difficulties, but execution was at that time, owing to the Italian influence, more studied than now. Boys were made to practise shakes diligently every day. They were not expected to enter very much into the spirit of the music; it sufficed if they sang the notes correctly. Moreover there were plenty of falsetto sopranos and altos, and these could, of course, take the upper parts. The tenor voice became a soprano, the bass an alto. A falsetto soprano could sing up to E and F above the treble stave.
The pitch of organs
The pitch question at Leipsic must have caused considerable difficulty. The organ at St Thomas’ Church was a tone higher than that of St Nicholas,85 and many of the cantatas have the organ (continuo) parts in two keys, for the two organs. There must have been a separate set of string and wind instruments for each church; for the frequent alterations of strings by so great an interval as a tone would hardly conduce to good intonation.
There were in fact two recognised pitches in use, called chorus pitch and chamber pitch. Of these the chamber pitch was used for ordinary orchestral performances, and was a tone lower than the chorus pitch, to which the organ was usually tuned. This would cause no inconvenience if the orchestras were not used in the churches; but it is very strange that such a troublesome arrangement should have been allowed to continue after it had become the custom to employ the orchestra every Sunday.
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.
Bach as Familien-Vater
One often hears in Germany the expressions “Familien-Vater,” “Haus-Vater,” applied as terms of special commendation to public men, in the sense that their private life is of estimable character, that they do their duty well by their families instead of spending their whole energy in accumulating money or fame. To no artist could these terms be more fittingly applied than to the subject of this memoir. We have seen that he was unremitting in his efforts to give his sons and pupils the best possible education, and helped them forward in every way he could when they entered their professions, and how he secretly obtained a post for his son-in-law, Johann Christoph Altnikol, as a kind of wedding-present. Forkel says he was a “vorzüglich guter (particularly excellent) Haus-Vater, Freund (Friend) und Staatsbürger (Citizen). His company was pleasant to everyone, whether a stranger or an intimate, and anyone visiting him was sure of a courteous reception, so that his house was seldom without guests.”
Choice of Sponsors
An interesting feature in his private life is his choice of persons to act as god-parents to his children. They were seldom his own relations, but persons of distinction, who might be able to help the children on in their subsequent career. Among them were Bach’s great friend, Prince Leopold of Cöthen, his brother Prince August Ludwig, his sister Princess Elenore, Privy Councillor Von Zanthier, Dr Gilmar, one of the chief men in the church at Mühlhausen; Gesner, rector of the Thomas School. Though far from seeking wealth, Bach was sufficiently a man of the world to see the value of ensuring a respectable position both for himself and his sons by any legitimate means in his power.
Bach as choirmaster
As a choirmaster Bach seems to have been a failure. He was far too irritable to be able to control boys, and the task was evidently extremely distasteful to him. Though he was sympathetic in the extreme with those who were in earnest in matters of art, it is very clear that he had not the tact and patience required for elementary teaching. One can well imagine how the stupidity and incompetence of many of the boys who came under him must have galled his ardent nature; and he was quite unfit to be a schoolmaster. Yet it is evident that he gained the confidence of some boys from the fact of his having trained them to assist him in the orchestra.
Of his own boyhood at Lüneburg a remarkable story is told to the effect that when his voice broke he for some days spoke and sang in octaves. It is of course quite conceivable on acoustical grounds that the first harmonic may have been prominent enough to be heard with the fundamental note; and that he, being a musician, observed a phenomenon which would escape an ordinary boy.
Bach’s eagerness to know all that was new
Throughout his life he was ever eager to become acquainted with everything new that was of any value. New organs, new compositions, newly-invented instruments, were all a source of interest to him. Thus, directly Silbermann of Freiburg had made a few of his “fortepianos” in imitation of the new invention of Cristofori, Bach was eager to try them. But the hammerlike blow required was quite foreign to Bach’s method of playing, in which the fingers were always kept as close as possible to the keys; and though he praised the tone, he rather freely condemned the touch. Silbermann was exceedingly angry and would not have anything to do with Bach for a long time; but he, nevertheless, set to work to improve the touch, and after some fifteen years of patient labour succeeded in producing the satisfactory instruments which Bach played on at Potsdam shortly before his death. Hilgenfeldt considers that the general use of the pianoforte took its origin from these perfected instruments.
Public concerts
In the midst of all his occupations Bach found time to conduct public concerts, of which Hilgenfeldt quotes the following advertisement:
“Notice of the Musical Concerts at Leipsic.”
“The two public musical concerts or assemblies, which are held here every week, are still flourishing. One is directed by Herr John Sebastian Bach, Capellmeister to the Grand-duke of Weissenfels, Music director of the Churches of St Thomas and St Nicholas; and it takes place in the Coffee-house of Zimmermann, in Catherine Street, every Friday evening from 8 to 10 o’clock; but during the Fair twice a week, namely, Tuesdays and Fridays. The members of these musical concerts consist for the most part of students, and there are always good musicians among them, so that often, as is known, some of them become in time celebrated performers. Every musician is allowed to perform publicly in these musical concerts, and there are usually some among the audience who are able to judge the value of a competent musician.”
Self-criticism
Bach was a severe critic of his own works. Hilgenfeldt tells us that many of those which did not come up to his ideal of what they should be were cast aside by him, and that such of his youthful works as he considered worth keeping were constantly improved by him and brought to a higher standard. Thus, the first movement of the third organ sonata, which originally belonged to the Wohltemperirte Clavier, was altered to the extent of having large portions cut out, and others essentially changed and improved, so that phrases of small significance obtained an importance of which no signs appeared in the earlier composition.
Teaching
He reserved his teaching for those who could really profit by it, and if he found that a pupil had not sufficient talent, he would, with every kindly courtesy, recommend him not to seek his living by music. The result was that a strong feeling for the dignity and value of art was spread by his pupils, who for the most part attained to important positions in their profession. One of his pupils, Doles, whose name had a place of honour in the old Gewandhaus at Leipsic, was Cantor of St Thomas for thirty-four years (after the death of Harrer), and was held in great esteem as a teacher and composer.
A good standing always maintained
Though at no time rich, Bach was never a poor man. The various payments in kind, such as rent-free dwelling, garden produce, etc., were almost sufficient to support him, and to make his salary available for self-improvement, for journeys, and for the education of his children. And that he was able to collect more than eighty theological works, at a time when books were an expensive luxury, a
nd that he could give no less than three clavichords with pedals at once to his son, Joh. Christian, shows that his position was one of comfort.
Recognition on his death
Though the Council and the Leipsic Chronicle took little notice of his death, it appears that the Society founded by Mizler caused a funeral ode by the then rector, Dr Ventzky, to be set to music and performed; and he seems to have been much mourned outside Leipsic, as the chief support of serious German music.
Not as a composer, but as a performer, however, was he mourned. It was reserved for later generations to fully appreciate what Hilgenfeldt describes as the “spiritual and everlasting” side of his genius. In those days the composer and performer were one and the same person. No one was considered an artist who could only perform, however well, if he could not also compose; and, especially on the organ, good improvisation was considered the chief qualification of a musician. He was expected to be in a position to extemporise at any time and under any conditions a fugue, or a set of variations on any theme given to him; and his ability in this respect was the criterion by which he was judged. It was natural, therefore, that Bach’s fame during his lifetime should rest more on his extempore performances than on his written compositions, which, remaining in manuscript, would probably serve chiefly as models for his pupils to work from.
Portraits and Statues
Four portraits of Bach are known to have been painted. One, which seems to have been the first, is a half length picture showing him in a dress coat of the fifth decade of the eighteenth century. It belonged to Kittel, and was kept by him as a kind of sacred possession, only to be shown on special occasions, or as a reward to a diligent pupil. It was in a massive gold frame, and hung behind a curtain over the harpsichord in Kittel’s study. On his death it came into the possession of the church of which he was organist.
The second was also a half-length, and belonged to his son Carl Philip Emanuel. It was painted by Hausmann.
The third, also by Hausmann, is shown in our frontispiece. It is preserved in the Thomas School, and, according to Becker, was painted on his becoming a member of the Leipsic Musical Society. A fourth, preserved in the Joachimsthal Gymnasium at Berlin, was formerly in the possession of Princess Amalie of Prussia, and seems to have been painted by Geber.
A few good copper engravings were made from the various portraits, and a number of bad lithographs from the engravings. Some successful plaster busts have also been made from the pictures.
Germany is much given to honouring those of her sons who have distinguished themselves in art by erecting memorials to them in public places: but not till nearly one hundred years after his death was such a monument thought of for Bach. In 1840, Mendelssohn gave an organ recital in the Thomas Church, with the object of opening a fund for this purpose with the proceeds, and on April 23, 1843, a medallion by Knauer was solemnly unveiled on the walls of the Thomas Church. The opportunity was taken of performing many of Bach’s compositions; and amongst those present was the last descendant of the great man, with his wife and two daughters. This was William Bach, then 81 years of age, a son of the Bückeburger Bach.
In 1864 a large new organ was erected in the New Church at Arnstadt “in honour of Johann Sebastian Bach,” containing his portrait over the keyboards: and in 1884 a Bach festival was held at Eisenach on the occasion of the unveiling of a fine bronze statue of the composer in the Market-place.
Catalogue of Bach’s Vocal Works
Matthew Passion. First performed, 1729. English edition, Novello.
St John Passion. Probably written at Cöthen, and much altered before it received its present form. English edition, published by Novello.
St Luke Passion. Of doubtful authenticity. English edition, Novello.
Mass in B minor.
„ F.
„ A. Written in 1737. Partly borrowed from other works.
Mass in G minor.}
„ G major.} Adapted from cantatas.
These four “Missæ breves” contain the Kyrie and Gloria, the only part of the Mass retained in the Lutheran Service in Latin.
Magnificat in D. Written for the Christmas Festival at St Thomas’ Church, and sung at vespers after the sermon. Edition with English words, Novello. It is for five voices, three trumpets, two flutes, two oboes, strings and organ.
Sanctus in C. }
„ D. } Sung after the morning sermon, as an introduction to the Communion Service.
„ D minor.}
„ G. }
CHURCH CANTATAS
The numbers refer to the Bachgesellschaft Edition.
2 Ach Gott vom Himmel sieh darein. Second Sunday after Trinity. Chorale Cantata.
3 Ach Gott, wie manches Herzeleid. Second Sunday after Epiphany. Chorale Cantata.
58 Ach Gott, wie manches Herzeleid. Second Sunday after Christmas. Solo Cantata for soprano and bass.
135 Ach Herr, mich armen Sünder. Third Sunday after Trinity. Chorale Cantata, Leipsic.
162 Ach, ich sehe, itzt, da ich. Twentieth Sunday after Trinity.
114 Ach, lieben Christen, seid getrost. Seventeenth Sunday after Trinity. Chorale Cantata.
26 Ach wie flüchtig, ach wie nichtig! Twenty-fourth Sunday after Trinity. Chorale Cantata.
33 Allein zu dir, Herr Jesu Christ. Thirteenth Sunday after Trinity. Chorale Cantata.
72 Alles nur nach Gottes Willen. Third Sunday after Epiphany.
68 Also hat Gott die Welt geliebt. Tuesday in Whitsun-week. English edition, “God so loved the World,” Novello.
42 Am Abend aber desselbigen Sabbaths. First Sunday after Easter (Quasimodogeniti).
186 Arg’re dich, o Seele nicht. Seventh Sunday after Trinity.
128 Auf Christi Himmelfahrt allein. Ascension Day.
131 Aus der Tiefe rufe ich, Herr, zu dir. Composed for Dr. G. C. Gilmar, Pastor of Mühlhausen.
38 Aus tiefer Noth schrei ich zu dir. Twenty-first Sunday after Trinity. Chorale Cantata.
131 Aus tiefer Noth schrei ich zu dir. Composed at Mühlhausen about 1707.
185 Barmherziges Herze, der. Fourth Sunday after Trinity.
132 Bereitet die Wege, bereitet. For no special season. Weimar, 1715. Words by Salomo Franck.
87 Bisher habt ihr nichts gebeten in meinem Namen. Fifth Sunday after Easter.
6 Bleib’ bei uns, denn es will Abend. Tuesday in Easter Week. English edition, “Bide with us,” Novello.
39 Brich dem Hungrigen dein Brot! First Sunday after Trinity.
148 Bringet dem Herrn Ehre. Seventeenth Sunday after Trinity.
63 Christen, ätzet diesen Tag. Christmas.
4 Christ lag in Todesbanden. Easter Day.
121 Christum wir sollen loben schon. Christmas. Chorale Cantata.
7 Christ unser Herr zum Jordan kam. St John’s Day. Chorale Cantata.
95 Christus, der ist mein Leben. Sixteenth Sunday after Trinity.
141 Das ist je gewisslich wahr. Third Sunday in Advent.
122 Das neu gebor’ne Kindelein. First Sunday after Christmas. Chorale Cantata.
40 Dazu ist erscheinen der Sohn. Christmas.
195 Dem Gerechten muss das Licht. Wedding Cantata.
15 Denn du wirst meine Seele nicht in Hölle lassen. Monday in Easter Week. Composed at Arnstadt, probably in 1704. See p. 27.
157 Der Friede sei mit dir. Purification; also for Easter.
196 Der Herr denket an uns. Wedding Cantata.
112 Der Herr ist mein getreuer Hirt. Second Sunday after Easter (Misericordias).
31 Der Himmel lacht, die Erde jubiliret. Monday in Easter Week. One of the few cantatas containing a chorus for five voices. The instrumental introduction is called “Sonata.”
75 Die Elenden sollen essen. First Sunday after Trinity.
76 Die Himmel erzählen die Ehre. Second Sunday after Trinity.
116 Du Friedensfürst, Herr Jesu Christ. Twenty-fifth Sunday after Trinity. Chorale Cantata.
104 Du Hirte Israel, höre. Second Sunday after Easter (Misericor
dias). English edition, “Thou Guide of Israel,” Novello.
77 Du sollst Gott, deinen Herren, lieben. Thirteenth Sunday after Trinity.
23 Du wahrer Gott und Davids Sohn. Quinquagesima (Estomihi).
Ehre sei dir Gott gesungen. Part V. of Christmas oratorio. English edition, Novello.
Ehre sei Gott in der Höhe. Christmas. Incomplete.
80 Ein feste Burg ist unser Gott. Reformation Festival, English edition, “A Stronghold Sure,” Novello. Composed 1717, when Bach went to Cöthen. This was the first cantata published in the nineteenth century. It was also arranged to Latin words, beginning, “Gaudete, omnes populi.”
134 Ein Herz, das Seinen. Wednesday in Easter Week. Cöthen, between 1717 and 1723.
24 Ein ungefärbt Gemüthe. Fourth Sunday after Trinity.
136 Erforsche mich Gott, und erfahre. Eighth Sunday after Trinity. Leipsic, 1737 or 1738.
66 Erfreut euch, ihr Herzen! Tuesday in Easter Week.
83 Erfreute Zeit im neuen Bunde. Purification.
126 Erhalt’ uns, Herr, bei deinem Wort. Sexagesima. Chorale Cantata.
173 Erhöhtes Fleisch und Blut. Tuesday in Whitsun-week. The music was originally written for a Serenade for the birthday of Prince Leopold of Cöthen. The MS. Serenade is in the Royal Library at Berlin.
175 Er rufet seinen Schafen mit. Wednesday in Whitsun-week. Solo Cantata for tenor and bass.
172 Erschallet,ihr Lieder. Whitsunday.
184 Erwünschtes Freudenlicht. Wednesday in Whitsun-week.
19 Es erbub sich ein Streit. Michaelmas Day.
9 Es ist das Heil uns kommen her. Sixth Sunday after Trinity.
45 Es ist dir gesagt, Mensch, was gut ist. Eighth Sunday after Trinity.
176 Es ist ein trotzig und verzagt Ding. Trinity Sunday.
108 Es ist euch gut, dass ich hingehe. Fourth Sunday after Easter (Cantata).
25 Es ist nichts Gesundes an meinem Leibe. Fourteenth Sunday after Trinity. Edition with English words, “Lo, there is no soundness within my body.” Rieter-Biedermann.
Delphi Masterworks of Johann Sebastian Bach Page 73