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 [pg 26] 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 [pg 27] 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 [pg 28] admirable talent for music, but only the elder ones fully developed it.[112]
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.