In 1695, when Johann Sebastian was not quite ten years old, his father died. He lost his mother at an earlier period.[47] So, being left an orphan, [pg 10] he became dependent on his eldest brother, Johann Christoph, Organist at Ohrdruf,[48] from whom he received his earliest lessons on the Clavier.[49] His inclination and talent for music must already have been pronounced. For his brother no sooner had given him one piece to learn than the boy was demanding another more difficult. The most renowned Clavier composers of that day were Froberger,[50] Fischer,[51] Johann Caspar Kerl,[52] Pachelbel,[53] Buxtehude,[54] Bruhns,[55] [pg 11] and Böhm.[56] Johann Christoph possessed a book containing several pieces by these masters, and Bach begged earnestly for it, but without effect. Refusal increasing his determination, he laid his plans to get the book without his brother's knowledge. It was kept on a book-shelf which had a latticed front. Bach's hands were small. Inserting them, he got hold of the book, rolled it up, and drew it out. As he was not allowed a candle, he could only copy it on moonlight nights, and it was six months before he finished his heavy task. As soon as it was completed he looked forward to using in secret a treasure won by so much labour. But his brother found the copy and took it from him without pity, nor did Bach recover it until his brother's death soon after.[57]
Being once more left destitute,[58] Johann Sebastian set out for Lüneburg with one of his Ohrdruf schoolfellows, named Erdmann[59] (afterwards Russian Resident at Danzig), and entered the choir of St. Michael's Convent. His fine treble voice procured him a fair livelihood. But unfortunately he soon lost it and did not at once develop another. [60]
Meanwhile his ambition to play the Organ and Clavier remained as keen as ever, and impelled him to hear and practise everything that promised him improvement. For that purpose, while he was at Lüeburg, he several times travelled to Hamburg to hear the famous organist,[61] Johann [pg 13] Adam Reinken.[62] Often, too, he walked to Celle to hear the Duke's French band play French music, which was a novelty in those parts.[63]
The date and circumstances of his removal from Lüneburg to Weimar are not precisely known.[64] He certainly became Court Musician there in 1703, when he was just over eighteen years of age.[65] But in the following year he gave up the post on his appointment as Organist to the new Church at Arnstadt, probably desiring to develop his taste for the Organ and realising that he would have better opportunities to do so at Arnstadt than at Weimar, where he was engaged simply to play the Violin.[66] At Arnstadt he set himself assiduously to study the works of the celebrated organists of the period, so far as his modest means permitted him, and in order to improve himself [pg 14] in composition[67] and Organ playing,[68] walked the whole way to Lübeck to hear Dietrich Buxtehude, Organist of St. Mary's Church in that city, with whose compositions he was acquainted already. He remained there about three months,[69] listening [pg 15] to the celebrated Organist, but without making himself known to him, and returned to Arnstadt with his experience much increased.
Bach's zeal and persevering diligence had already drawn attention to him, as is evident from the fact that he received in succession several offers of vacant organistships, one of which, at the Church of St. Blasius, Mühlhausen, he accepted in 1707.[70] Barely a year after he entered upon his duties there[71] he again visited Weimar and played to the Duke, who was so pleased with his performance that he offered him the post of Court Organist, which he accepted.[72] Weimar promised [pg 16] him a particularly agreeable atmosphere in which to cultivate his genius.[73] He applied himself closely to his work, and probably at this period achieved the mastery of the Organ that he ever afterwards possessed. At Weimar also he wrote his great compositions for that instrument.[74] In 1717[75] the Duke appointed him Concertmeister, a post which gave him further opportunity to develop his art, since it required him to compose and direct Church music.
It was about this time that Zachau, Handel's master, died at Halle, where he was Organist.[76] Bach, who by now had acquired a great reputation, was invited to succeed him.[77] He visited Halle [pg 17] and composed a work as a specimen of his skill But for some reason unknown he did not obtain the post. It was given to a clever pupil of Zachau, named Kirchhoff.[78]
Johann Sebastian was now thirty-two years old. He had made good use of his opportunities, had studied hard as a player and composer, and by tireless enthusiasm had so completely mastered every branch of his art, that he towered like a giant above his contemporaries. Both amateurs and professional musicians already regarded him with admiration when, in 1717, Marchand, the French virtuoso, a celebrated Clavier and [pg 18] Organ player, visited Dresden. He played before the King-Elector[79] and won such approbation that he was offered a large salary to enter His Majesty's service.[80] Marchand's chief merit was his finished technique. Like Couperin,[81] his musical ideas were weak to the point of banality, as we may judge from his compositions.[82] Bach was an equally finished player, and so rich in ideas that Marchand's head would have swollen had he been equally gifted. Volumier, Concertmeister at Dresden,[83] was aware of these circumstances, and knowing that the young German had his instrument and his imagination under the fullest control, determined to arrange a contest between the two men in order to give his sovereign the satisfaction of judging their merits. With the King's approbation, a message was dispatched [pg 19] to Bach at Weimar[84] inviting him to a contest with Marchand. Bach accepted the invitation and set out at once on his journey. Upon his arrival at Dresden Volumier procured him an opportunity to hear Marchand secretly. Far from being discouraged by what he heard, Bach wrote a polite note to the French artist challenging him to a trial of skill, and offering to play at sight anything Marchand put before him, provided the Frenchman submitted himself to a similar test. Marchand accepted the challenge, a time and place for the contest were fixed, and the King gave his approval. At the appointed hour a large and distinguished company assembled in the house of Marshal Count Flemming.[85] Bach arrived punctually; Marchand did not appear. After considerable delay he was sought at his lodging, when it was discovered, to the astonishment of all, that he had left Dresden that morning without taking leave of anybody. Bach therefore performed alone, and excited the admiration of all who heard him, though Volumier was cheated of his intention to exhibit the inferiority of French to German art. Bach was overwhelmed with congratulations; but the dishonesty of a Court official is said to have [pg 20] intercepted a present of one hundred louis d'or sent to him by the King.[86]
Bach had not long returned to Weimar when Prince Leopold of Anhalt-Cöthen, a good judge of music and a first-rate amateur,[87] offered him the post of Kapellmeister. He entered at once upon his new office[88] and held it for about six years.[89] At this period, about 1722,[90] he visited [pg 21] Hamburg, played the Organ there, and excited general admiration. The veteran Reinken—he was nearly one hundred years old—was particularly impressed by Bach's performance. After he had treated the Choral An Wasserflüssen Babylon for half an hour in variation after variation in the true Organ style,[91] Reinken paid him the compliment of saying, “I thought this art was dead, but I see that it survives in you.” Reinken had treated the same Choral in a similar manner some years before and had had his work engraved, showing that he thought highly of it. His praise therefore was particularly flattering to Bach.[92]
On the death of Kuhnau in 1723[93] Bach was appointed Director of Music and Cantor to St. Thomas' School, Leipzig,[94] a position which he [pg 22] occupied until his death. Prince Leopold of Anhalt-Cöthen had great regard for him and Bach left his service with regret.[95] But he saw the finger of Providence in the event; for the Prince died shortly afterwards.[96] The loss of his patron affected him deeply, and moved him to compose a funeral Cantata containing remarkably fine double choruses which he himself conducted at Cöthen.[97] While he was at St. Thomas' he was appointed honorary Kapellmeister to the Duke of Weissenfels[98] and, in the following year [pg 23] (1736), received the title of Court Composer to the King-Elector of Poland-Saxony.[99] The two compliments are not of great consequence, and the second was to some degree corollary to Bach's position as Cantor of St. Thomas' School.[100]
Carl Philipp Emmanuel, Bach's second son, entered the service of Frederick the Great of Prussia in 1740. So widely was Bach's skill recognised by this time that the King, who often heard him praised, was curious to meet so great an artist. More than once he hinted to Carl Philipp Emmanuel that it would be agreeable to welcome his father to Potsdam, and as Bach did not appear, desired to know the reason. Carl Philipp did not fail to acquaint his father with the King's interest. But for some time Bach was too occupied with his duties to accede to the invitation. However, as Carl Philipp continued to urge him, he set out for Potsdam towards the end of 1747, in company with his eldest son, Wilhelm Friedemann.[101] It was the King's custom to hold a private concert [pg 24] every evening, and to take part on the flute in a Concerto or two. One evening,[102] when he had got out his flute and the musicians were at their desks, an official brought him a list of the strangers newly arrived at Potsdam. Flute in hand the King ran through the names, and suddenly turning to the waiting musicians, said with considerable excitement, “Gentlemen, Old Bach has arrived.” The flute was put away for the evening, and Bach, who had alighted at his son's lodging, was summoned immediately to the Palace. Wilhelm Friedemann, who accompanied his father, often told me the story. Nor am I likely to forget the racy manner in which he related it. The courtesy of those days demanded rather prolix compliments, and the first introduction of Bach to so illustrious a monarch, into whose presence he had hurried without being allowed time to change his travelling dress for a Cantor's black gown, obviously invited ceremonial speeches on both sides. I will not dwell on them; Wilhelm Friedemann related [pg 25] a lengthy and formal conversation between the King and the Cantor.[103]