A hymn was sung between the epistle and gospel, in the place of the “Gradual” of the Roman service, and here the most elaborate prelude was introduced, based on the melody of the hymn.
Before the “church music,” which takes the place of our anthem, an extempore prelude was played in order to allow the instruments to be tuned. This was in the form of a fantasia, in which the performer had to remain longest in the key which most coincided with the strings to be tuned. The prelude had to stop on a sign from the conductor that the instrumentalists were ready. It was supposed to have some connection with the piece that was to follow, but the unhappy effusions of incompetent organists led to occasional remonstrance from the Council.
Examination of a new organ
In 1716 the Council of the Liebfrauenkirche at Halle invited him to examine their organ, which was now completed. He answered their invitation very politely, and with Kuhnau of Leipsic and Ch. F. Rolle of Quedlinburg began the examination in the second week after Easter. The organ was built by Cuncius of Halberstadt, and the three examiners reported that he had carried out the work (which had occupied three years) in the most satisfactory way possible, the only part requiring alteration being the bellows. After many difficulties, owing to the smallness of the salary, the authorities eventually found an efficient organist in G. Kirchoff, a pupil of Zachau and a man of the same age as Bach.
About 1716 the friend of Bach’s youth, G. Erdmann, visited him. He had held a legal post under the Russian government since 1713.
Contest with Marchand
In the autumn of 1717 Bach made a journey to Dresden to hear the performances at the theatre, which was supported by Friedrich August I. There happened to be visiting Dresden a famous French organist and harpsichord player Jean Louis Marchand, organist at Versailles, and of several churches at Paris. He enjoyed an immense reputation as player and composer, though his compositions have not borne the test of time, and are now entirely forgotten. Vain, arrogant, and conceited, the spoilt idol of French society, he came to Dresden, where his playing became much in favour at the Court and he was given two medals. Soon after Bach’s arrival there arose a discussion among the artists as to which was the greater performer. The Court musicians took the part of Marchand, while the members of the orchestra, who were mostly Germans, preferred Bach. The matter ended in Bach’s being persuaded by his friends to write to Marchand, offering to go through any musical test that Marchand might suggest, on condition that he would undergo the same test.
A Victory
The challenge was accepted; a date was fixed for a meeting at the house of Field Marshal von Flemming,[29] a jury of musicians was chosen, and a brilliant company assembled. Bach and the jury arrived punctually, but Marchand did not appear. After a time he was sent for, when it was found that he had departed by express coach that morning from Dresden, certain, no doubt, of being defeated. Marchand seems to have heard Bach privately beforehand; while Bach was already familiar with Marchand’s works, and admired them much. Spitta[30] considers that they are not inferior to those of Couperin in variety and grace, but are rather thin for the more solid German taste. The news of Bach’s victory soon spread far and wide, and did much to enhance his already great reputation. He, however, never seems to have obtained any recognition from the Court at Dresden.