Famous composers and their works, Vol. 1

by Unknown

From a painting of an ideal scene.

Among the most remarkable of the false impressions which have prevailed concerning Bach's personality, must be accounted the idea that he was himself a pietist. Attempts have been made to prove this on the one hand from the nature of the poems composed by him, on the other, from the character of his music. And indeed, it is not difficult to discover in many of the poetical texts which he wrote for his own church music, the pietistic forms of expression. But since these forms, notwithstanding a certain bombastic quality, a rapturous, exaggerated sentiment and an exuberant tenderness, still strike a note of genuine poetry, they were habitually employed by all writers of that day.

Not a single pietist, however, was included in the number of the poets who wrote for Bach. One of these, Erdmann Neumeister, was, on the contrary, a zealous champion of orthodoxy. And concerning the sympathy between Bach's music and pietism, it must also be said here that nothing beyond a certain analogy exists. A strong intensity of feeling is common to both, and the profound intelligence exhibited by the musician in following the most hidden meanings of his text, resembles the fervid devotion with which the pietists were wont to read the Bible. Moreover, the lofty idealism which inspired his artistic creations, causing him to regard everything sub specie aeterni, as it were, corresponds in a certain way to the unworldly spirit of the apostles of Spener, who, lost in ecstasy, directed their gaze towards the pictured glories of the heavenly sphere. But, while these pious souls gave themselves up unreservedly to this sort of subjective fanaticism, with Bach the personal feeling is always controlled by the utmost conceivable severity of the musical form. The pietists renounced the world and the forces at work in it; Bach founded his activity upon what had been created before him in his art, and rejoiced, after the manner of his ancestors, in a hearty enjoyment of the world and its beauty. It is not merely because pietism interfered with the free exercise of his art that Bach refused it his support, but rather because this particular religious bent was distasteful to him in every way. The old Lutheran form of Protestantism was an inheritance of his race, and his education had been carried on in places where orthodoxy flourished. In Arnstadt it had victoriously trampled under foot, before his coming, some feeble germs of pietism, which of itself is almost sufficient reason for the attitude of quiet hostility towards Spener, assumed by him from the beginning. The second clergyman of the town, Georg Christian Eilmar, was an orthodox of the strictest kind, and soon after his installation had fallen into a violent controversy with Frohne, which lasted for years and was still in progress when Bach came to Mühlhausen. The musician espoused Eilmar's cause with ardor and did not hesitate to express his opinions publicly, thus affording another manifestation of the spirit of obstinate defiance which formed one of his fundamental traits. For it was impossible that he should be attracted by a prosaic, arrogant, and thoroughly unpleasing personality like that of Eilmar, neither was he in any wise a fanatical partisan of orthodoxy. He held firmly to the belief of his fathers, but to inquire into the principles of their faith was an idea that never occurred to him. Whatever needs his religion may have failed to satisfy were more than filled by his art and the conscientious manner in which he exercised it.

For the next nine years of his life Bach was established in Weimar as court organist and chamber musician; after 1714 he also officiated as concert-master of the ducal chapel and performed some of the duties of capellmeister. Everything that had been lacking in Mühlhausen, he found here at the court of Duke Wilhelm Ernst, a man whose strongly marked personal character was reflected upon his surroundings, imparting to them something of the genial Thuringian spirit. Differing from most of his compeers in possessing a lively sense of his obligations as a ruler, he failed to cherish the delusion that his subjects only existed for the convenience of the reigning class. He was of an earnest nature, this great-grand-uncle of Goethe's friend Karl August, and lived without ostentation, almost as simply indeed as an ordinary citizen, in his castle of Wilhelmsburg. Without children and separated from his wife after a brief, unhappy union, all his interests were centred in the welfare of the little province; above all, he occupied himself with church and school affairs. Even as a child, he had displayed the strong theological bias which always distinguished him, and had afterwards studied for three years at the University of Jena. His favorite associates were members of the clerical profession, and in order to provide for the spiritual needs of the town of Weimar, which numbered at that time about 5,000 inhabitants, he increased the number of preachers, in whose conferences and theological discussions he took an active part. Orthodox in belief, he hated and prohibited all sectarian controversy, and without diminishing his zeal for the elevation of ecclesiastical standards and the broadening of church organization, he extended a protecting care over the arts and sciences. Weimar owes to him not only its gymnasium, but also the foundation of its library, at present so justly renowned. He took pains to support an excellent music chapel and even tolerated an opera at his court. Chamber music was by no means neglected, but the strongest interest manifested by the duke was in ecclesiastical matters, and during his long reign of forty-five years (1683-1728), his persevering efforts to awaken in the court and the citizens of the town an interest in the works of a great composer of sacred music were crowned with deserved success.

No musicians of eminence were to be found in the Weimar of that day. The aged capellmeister, Johann Samuel Drese, was in feeble health, making it necessary for Bach to relieve him of a portion of his work. Johann Gottfried Walther of Erfurt, who was related to Bach on his mother's side, filled the place of organist in the town-church and soon formed an intimate friendship with his kinsman. Walther's name has continued to be held in esteem up to the present time through his musical lexicon, which was published in Leipsic in 1732 and is a valuable reference book for students of scientific music. But only the spare moments of its industrious author were devoted to the preparation of this work. In addition to his duties as organist, he was active as a composer and also gave instruction in music, his services as teacher being greatly in demand. His strength lies chiefly in the domain of organ music, where he has successfully followed in the footsteps of Johann Pachelbel. In this connection should be mentioned an artist from a neighboring state, who, however, was often seen in Weimar, and who found a degree of pleasure in Bach's society which the latter fully reciprocated. Georg Philipp Telemann, one of the most skilful musicians of his age, enjoyed at that time a greater celebrity than Bach, and steadily maintained to the end of his life the reputation of a high musical authority. His style is wanting in depth and earnestness, but he was one of the most prolific writers the world has seen, showing an incredible activity in every species of composition, so that in the end he was himself unable to say precisely what or how much had proceeded from his pen.

Bach did not restrict his acquaintance to the narrow limits of his immediate surroundings, but was in the habit of undertaking frequent journeys with the view of spreading his fame as organ virtuoso and composer. On one occasion before the end of the year 1714, he went to Cassel for the purpose of testing an organ which had been newly restored. Prince Frederick, son of the reigning duke and afterwards King of Sweden, summoned him to play in his presence and was enchanted by the unheard-of virtuosity of his pedal-playing. In the autumn of 1713, he passed some time in Halle, on his return from a professional tour, and very possibly attracted by a fine new organ, erected by Christoph Cuncius in the Church of the Holy Virgin. The post of organist at this church having been vacant for a year, it seems to have been suggested that Bach should make application for the place. The proposal must at first have been a tempting one, since the organ furnished him in Weimar was very inferior, containing in all only two manuals and twenty-four stops, while that in Halle had sixty-three sounding stops. He soon expressed his willingness to accept the appointment, and prolonged his stay sufficiently to enable him to compose the cantata required of all candidates and to conduct the performance of the same. The church elders were now very anxious to secure his services, but Bach left the place without awaiting their decision. There were many drawbacks connected with the position, and the thought of his friend and patron the duke caused him to waver. When, therefore, the formal "call" was sent to him before Christmas, in the shape of a regularly attested document, just as though the matter had already been settled between them, Bach expressed his wish to discuss the matter further before deciding. The authorities took offence at this, and, quite without reason, practically accused him of only pretending to treat with them, in order to obtain an increase of salary from the duke. The sole attraction for Bach in Halle was undoubtedly its beautiful organ. Up to this time he had been using instruments of small or medium size, and indeed, throughout his long career, an organ adequate to the genius of this greatest master in the world was never placed at his command. Meantime the bold and arrogant manner in which he was accused of evading his promise could not fail to be resented with indignation by a man like Bach. He returned a very sharp letter of protest, which plainly showed the church authorities that they had made a mistake. Realizing later their want of tact, they sought to make amends by inviting him to attend the trial performance on the new organ, and Bach accepted the invitation.

In the course of a third journey known to have been made by Bach in the autumn of 1714, he paid his first visit to Leipsic, the city in which he was to spend the last twenty-seven years of his life. On the first Sunday after Advent, he furnished all the organ music for the service (conducted, probably, in the Thomas Church), and also produced a cantata of his own composition. We are familiar with this cantata; it is one of the most beautiful belonging to Bach's earlier period, and begins with a chorus, based upon the old Ambrosian hymn, "Come, Saviour of the people" ("Veni, redemptor gentium"). Not long afterwards, Bach probably repaired to the ducal court at Meiningen, to which his cousin, Johann Ludwig Bach, was attached as capellmeister. We have no knowledge of any previous communication between the two branches of the family descended from Veit Bach, and there is good ground for assuming that it was Sebastian who made the advances in this instance. Johann Ludwig had an especial gift for the composition of church music. Twenty-two of his cantatas were copied out by Sebastian's own hand, and of still greater importance than these are the motets by the same master, who, if he does not equal Johann Christoph Bach of Eisenach, has yet introduced into German music, with great success, the Italian method so brilliantly exemplified by Leonardo Leo.

Another autumnal journey made by Sebastian Bach had for its goal the Saxon electoral court at Dresden, where occurred one of the most famous and memorable events of his life. He had always maintained the most friendly relations with the German musicians attached to the electoral chapel, who just now felt themselves unjustly thrust into the background, owing to the preference of the court for the French and Italian school of tonal art. It happened that precisely at this time Jean Louis Marchand, an organist from Paris, was visiting in Dresden and delighting the elector and his court by the elegance of his technique. Bach had found as yet no opportunity of appearing before the court, but so greatly distinguished himself in other musical circles as to create an ardent interest in the question whether he or Marchand was the greater artist. In the seventeenth and eighteenth centuries competitive musical performances were in high favor. Bach, who was thoroughly acquainted with the style of Marchand's playing and the character of his music, consented to challenge the Frenchman to a trial of skill upon the clavier. Marchand accepted and the tournament was arranged to take place, in the presence of a select body of judges, at the house of a personage of high rank; probably the minister, Graf von Flemming. When the appointed hour arrived Bach was on the spot, but Marchand did not appear; in the sure premonition of failure, he had abandoned the field without resistance. Bach now played alone and enchanted his audience. The report of this occurrence was rapidly spread abroad and served to add new lustre to the fame of the master, who now stood forth a victorious champion of German national art, as opposed to the theories and methods of the French.

These various professional journeys and the visit between the years 1715 and 1717 of Georg Erdmann, the friend of his youth, who, after completing his study of the law, had entered the Russian service in 1715, are the most important external events of Bach's stay in Weimar. If we glance at his creative activity during that period, we see that the principal emphasis falls upon his work as organ virtuoso and composer. Duke Wilhelm took great pleasure in his playing, and this incited him to use his utmost efforts in the art of handling his instrument. It was in Weimar that he wrote the larger number of his very numerous organ compositions, and he also made much progress here in the art of vocal composition, besides becoming thoroughly acquainted for the first time with Italian chamber music. The duke's nephew, Prince Johann Ernst, was of a decidedly musical turn, and, with the aid of Walther, had even made attempts at composition. In gratification of his tastes, frequent concerts of chamber music were given at the castle, Bach acting as leader. The violin concerto, which had just been revived in Italy through the efforts of Torelli and Vivaldi, and the violin sonata in the form established by Corelli, were favorite varieties of this sort of music, in which Bach soon developed a strong interest, as is shown by the fact that he arranged for the clavier and the organ about twenty of Vivaldi's concertos. These works are not arrangements in the ordinary sense, but are rather expansions of the original motives. By means of an animated bass, a richly melodious baritone and artistic contrapuntal imitations, Bach converted his material into something at once novel and charming. He also took themes from the violin sonatas of Corelli and Albinoni, while he richly elaborated and fashioned into an organ fugue, the leading motive of a composition by the Venetian Legrenzi. That he entered very heartily into the spirit of the Italian music of the day is evident from his causing a copy to be made for himself of an important production of Frescobaldi, the greatest Italian organ master. This work, entitled "Fiori Musicali" appeared in 1635.