Böhm, organist of St. John's Church in Lüneburg.
It was through Froberger and Kerl that Bach became acquainted with Frescobaldi's works, and the Italian school; the sonata form was revealed to him by the French "suites" played by the orchestra of the ducal court at Celle, an organization which greatly interested him; but the greatest influence upon his youth was exercised by Buxtehude. It was from him that Bach learned in their integrity the old German traditions.
When, at Hamburg, the aged Reinken heard Bach improvise for more than a half-hour upon the chorale An Wasserflüssen Babylons, he cried out, embracing him, "I thought that this art were dead; but I see that in you it still lives."[1]
These traditions he handed down later to his two oldest sons, Wilhelm Friedemann and Carl Philipp Emanuel—two musicians whose merit is universally recognized,—and to a whole galaxy of brilliant pupils:
Johannes Caspar Vogler, a musician whom Mattheson considered more able than Bach himself. Vogler was organist at Weimar. Some preludes of his are published and written in the form of chorales for two manuals and pedal.
Homilius, of Dresden, a composer of church music.
Transchel, of Dresden, a distinguished clavecinist.
Goldberg, of Königsberg, composer of pieces called "Bagatelles pour dames," which no one could play, such was their difficulty. (He frequently found amusement in playing music of every variety from the inverted score.)
Krebs, organist at Altenburg; not only a performer of the first rank, but a prolific composer. For nine years he enjoyed the invaluable supervision of Bach.
Altnikol, organist at Naumburg; Bach's son-in-law.