Visit to Frederick the Great and Later Works
Early in 1741 Bach’s son Philipp Emanuel had become clavecinist to the new sovereign of Prussia, Frederick the Great. Moved, it appears, by a paternal wish to see the young man comfortably settled, the father made a trip to Berlin in the summer of that year. Details of the journey are few and it was cut short by news that Anna Magdalena, in Leipzig, was seriously ill.
Bach’s famous visit to Berlin and Potsdam did not take place, however, till fully six years later. One of its chief objects was to make the acquaintance of his daughter-in-law, whom Philipp Emanuel had married in 1744, and of his first grandchild. But the visit had more spectacular consequences. Frederick the Great had learned about Bach from his court pianist. Whether or not the great Cantor went to the palace of Sans-Souci in Potsdam at the king’s special command, he arrived there at a psychological moment on May 7, 1747, just as Frederick was about to begin one of his regular evening concerts at which, surrounded by his picked musicians, he loved to exhibit his own considerable virtuosity on the flute. “Gentlemen, old Bach is here!” the monarch exclaimed and, calling off the concert, received his guest with cordiality. He immediately had Bach examine the new Silbermann claviers with hammer action newly installed in the palace and invited him to show his skill. After putting each of the instruments to a test, Bach amazed Frederick and his court by improvising a superb six-part fugue on a subject submitted him by the king himself. The next evening he transported his hosts once more with a recital on the organ of the Church of the Holy Ghost in Potsdam and a little later, in Berlin, examined the new opera house, detecting acoustical effects which the architect himself seems not to have suspected.
Back in Leipzig Bach resolved to break a rule against dedicating scores to noble patrons he had made after the shabby treatment accorded him in the case of the Brandenburg Concertos and the B minor Mass. But he would have been less than human if he had not thought that a gracious gesture on his part might perchance further his son’s interests at court; and besides, he was genuinely pleased with the fine theme Frederick had given him to develop. So, alleging that his Potsdam improvisation had failed to do the royal theme justice, he dispatched to the monarch with a suitable dedication a series of elaborate contrapuntal developments of the theme, diplomatically incorporating in the set a sonata for flute, violin and clavier. This princely gift is the work known as the Musical Offering, whose beauty and ingenuity have come to be properly valued only in recent years.
Theoretical problems of music now interested Bach more and more and in 1747 he was elected to the so-called Society for the Promotion of Musical Science, founded by Lorenz Christoph Mizler. Men as illustrious as Telemann, Handel and Graun were already members and after a brief period of hesitation Bach joined it, too, presenting the Society in return for his diploma with a formidable sample of his technical skill in the shape of a lordly set of canonic variations for organ on the Christmas hymn Vom Himmel hoch, da komm ich her.
In 1749 he was occupied with a work in some ways his profoundest and most enigmatic, which virtually till our own time has been misconstrued even by serious musicians as a dry and abstract experiment in polyphony of no independent musical value. It is that stupendous succession of fugues and canons (or “counterpoints,” as the composer himself called them) under the collective title The Art of Fugue. On a subject not unlike the theme given him by Frederick the Great, Bach has heaped one polyphonic marvel upon another in a manner to exploit to the limits of technique and imagination every possible device of fugal and canonic development. He was not spared to complete it but dropped his pen at a passage in the final counterpoint when the notes “B-A-C-H” (in German B flat, A, C, B natural) were woven into the contrapuntal texture. What adds to the further riddle of the work is the fact that the composer did not indicate for what instrument or group of instruments he intended it. In our day it has been scored by turns for a full orchestra, a chamber orchestra, a string quartet, two pianos, and the organ. It is difficult to believe that Bach did not intend this colossal conception to be performed and that he projected it merely as a theoretical problem or an exercise in what is called “eye music.” It stands in relation to Bach’s other works something as the mystical last quartets of Beethoven do to his more popular creations. It was published posthumously and reissued by Philipp Emanuel Bach in 1752. Yet four years later not more than thirty copies had been sold and Philipp Emanuel, in disgust, sold the plates for old metal.