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LIBRARY

OF
UNIVERSITY
CALIFORNIA

SAN DIEGO

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BACH

BELL'S MINIATURE

SERIES OF MUSICIANS

COMPANION SERIES TO
Cell's Jfttttiatur* <txit& ot ftainttte

Each volwne 6^X4

inches, price

is.

net.

with photogravure frontispiece,

:

G.

C.

or in limp leather,
is. net.

EDITED BY

WILLIAMSON.

NOW

Lirr.D.

READY.

BEETHOVEN. By J. S. SHEDLOCK, B.A.

GOUNOD. By HENRY TOLHDRST.
HANDEL. By WILLIAM H. CUMMINGS. Mus.D.,
F.S.A., Principal of the Guildhall School of

Music.

MENDELSSOHN. By VERNON

BLACKBURN.
PROUT, Professor of
Music, Dublin University, B.A., Mus.D.
SULLIVAN. By H. SAXE WYNDHAM, Secretary

MOZART. By EBENEZER

of the Guildhall School of Music.

BACH.

By

E. H. THORNE.

A Iso in

WAGNER. By JOHN
HAYDN. By JOHN
CHOPIN.

By

E.

J.

SCHUMANN. By
ROSSINI.

VERDI.

F.

the Press.

RUNCIMAN.
RDNCIMAN.

F.

OLDMEADOW.
J. OLDMEADOW.

E.

By W. A. BEVAN.
By L. VIZETTI.
Others

LONDON

to

follow.

GEORGE BELL &

SONS.

JOHANN SEBASTIAN BACH.

(From an

oil painting.)

Bell's

Miniature Series of Musicians

BACH
E.

H.

THORNE

LONDON
GEORGE BELL & SONS
1904

TABLE OF CONTENTS
PAGE

LIFE OF BACH

EARLY YEARS

BACH AS ORGANIST

SECOND MARRIAGE AND FAMILY

-12

COMPOSES HIS "MASS IN B MINOR"

LATER WORKS AND LAST DAYS

-23

CHURCH WORKS BY BACHTHE PASSIONS

BACH'S ORGAN

...

WORKS

26

33

BACH

AS CONTRAPUNTIST

THE "MASS IN B MINOR"

LIST OF WORKS
SOME BOOKS ON BACH

35

39

41

43

25

WORKS FOR CLAVICHORD

BACH'S ORCHESTRAL WORKS
BACH AND HANDEL
BACH'S

19

46
55
60

LIST OF ILLUSTRATIONS

JOHANN SEBASTIAN BACH

Frontispiece

THE HOUSE AT EISENACH

IN

WHICH

J.

S.

BACH WAS BORN

FACSIMILE OF MS. TITLE PAGE OF THE

CHURCH CANTATA, " GOD is MY KING "
6

(1708)

BACH
ST.

IN His OLD AGE, WITH VIEWS OF

THOMAS' CHURCH AND THE OBSER-

VATORY, LEIPZIG

.12

MS. TITLE PAGE

"
OF THE " WELL-TEMPERED CLAVICHORD

FACSIMILE OF

(1722)
ST.

BACH'S

14

THOMAS' SCHOOL AND BACH'S MONU-

MENT, LEIPZIG

24

FACSIMILE OF BACH'S MS. OF THE FUGUE

IN A\> MAJOR, No. 17 OF THE "WELL-

TEMPERED CLAVICHORD," BK.

n. (1744)

36

LIFE OF BACH
EARLY YEARS

TOHANN SEBASTIAN BACH

J

Eisenach on or about March

was born

at

21, 1685, o.s.,

(March 31, N.S.,). Certain it is that he was

He came of a long
baptized on March 23, o.s.
line of musicians, some of them distinguished, who
had kept the art alive in the places where they dwelt
(mostly in Thuringia) during the troublous times
of the Thirty Years' War.
Many of them had
been organists and composers of celebrity, and
so identified with music had the name of Bach
become, that the town players were called the
Bachs when there were no longer any Bachs

among them.
The family seems

early to have imbibed the

principles of the Reformation, and to have been
distinguished for piety as well as music, all which

contributed to the

building up

of

our John

Sebastian.

His

father,

Ambrosius Bach, settled first at

and became a town

Erfurt as a viola player,

BACH

councillor.

by

whom

He
he

married Elisabeth Lammerhirt,

had

issue

six

children,

John

Soon after his

Sebastian being the youngest.
marriage he removed to Eisenach, where he was
organist as well as viola player.
The Bachs had no need to go out of their own
family for instruction in music ; the art had been
handed down from father to son, and, accordingly,
John Sebastian's first instructor was his own
father, who seems to have initiated him early into
the mysteries of violin playing.
At the age of nine he lost his mother, and
within a year his father also.
The care of John

Sebastian then devolved on an elder brother,

Johann Christoph (born 1671), who had settled
at Ohrdruf as organist of the principal church, in
which town other members of the Bach family
had resided.
This brother had been sent early in life to
Erfurt, where he had received instruction in
music from Pachelbel, one of the most distinguished organists of the day, and a friend of
the Bach family.
A story of this time is told
which is characteristic of John Sebastian, who
was always eager to know the works of the most
His brother had made
distinguished composers.
a collection of the most famous compositions for
the organ, which he kept jealously guarded from
One night the latter stole
John Sebastian.
downstairs, and succeeded in extracting the roll

of music through the wires of the bookcase.

Having no light, he had to copy it by moonlight.
When the copy was finished, his brother was

THE HOUSE AT EISENACH IN WHICH

WAS BORN.

J.

S.

BACH

HIS LIFE
hard-hearted

enough

to

take

3
it

from

him.

Probably by means of this copying John Sebastian

became acquainted with the works of Pachelbel,
Buxtehude, and others.
For general education he entered the Lyceum,
where also he sang in the choir, and is said to
have possessed a fine soprano voice, which, at
fifteen years of age, obtained him an appointment
in the convent school and choir of St. Michael,
Luneburg. Although his voice broke soon after,
he remained at Luneburg, supporting himself by
playing and accompanying at rehearsals.
Here he acquired a wider knowledge of what had
been done in the way of church music, and
became acquainted with the organ works and
organ playing of Bohm. From hence he made
excursions on foot to Hamburg to hear Reinken
play, and also to Celle, where the Court band
played French orchestral music, and where also
violin

French

clavier music found favour.

In 1703 he was invited to join the band of
Johann Ernst, younger brother of the reigning

Duke of Weimar, as violinist, receiving the title of

Court Musician. Visiting Arnstadt soon after, he
played on the organ in the New Church with so
much success that he was forthwith offered the
post of organist, with a greatly increased salary.

BACH
BACH AS ORGANIST.
This appointment he entered on August 14,
The organ had only two manuals. Here
1703.
is the specification
:

Oberwerk.
1

2.
3.

4.
5.
6.

Principal
Viol da Gamba

Quintaton
Gedackt
Quint
Octava

3.

Principalf
Lieblich gedackt
Spitz flute

4.

Quint

5.

Sesquialtera.

2.

HIS LIFE

In 1705 he obtained leave of absence for one

month, in order that he might go to Liibeck and
hear Buxtehude, who had attained a great reputa"
tion as organist, and gave " Abendmusiken
(musical evenings) in the Marien-Kirche, consisting of sacred music, both vocal and instrumental,
with organ solos.
The fascinations of Liibeck

must have been great, for Bach extended his

absence to four months, and on his return was
cited before the Consistory to explain "where he
had been for so long of late, and from whom he
received leave of absence."
Bach replied that he had been to Liibeck in
order to learn things connected with his art, but
had previously asked permission from the Herr
Superintendent.
Spitta reports the proceedings
of the Consistory as follows
" Had
Superintendent.
only asked leave for
four weeks, but had remained abroad quite four
times as long."
Bach. " Hoped that the organ meantime would
have been played by his substitute* in such a
:

manner

that

no complaint would be made on

that score."

"

Charge him with having been

making surprising variations in the
chorales (hymn tunes) and intermixing many

The

Consistory.

in the habit of

strange sounds, so that thereby the congregation

were confounded. If in future he wishes to
introduce some tonus peregrinus, he must keep
to

it,

and not go
*

off directly to

something

Probably his cousin, Ernst Bach.

else,

BACH

he had hitherto done, play quite a lonum

contrarium. And then, it is strange that up to
this time he has had no rehearsals by reason
of his not being able to agree with the scholars.
Therefore he is to declare whether he will play
both part-music and chorales with the scholars,
since another kapellmeister cannot be kept and
if he will not do this, let him say so categorically
of his own accord, that a change may be made,
or, as

and someone who

will undertake it be appointed."

Bach. " If a proper director be appointed he

will play again."

Resolved " That he shall explain his conduct

within eight days.
Also that scholar Rambach
(choir prefect) appear, and be reproved for the
disorders that up to this time have taken place
between the scholars and the organist in the new
church."
:

Rambach. "The organist, Bach, used to play

too long preludes, but after this was notified to
him by the Herr Superintendent, he went at once
to the opposite extreme, and has made them too
short."

Rambach was also accused of going to a wineshop during the sermon. It was enjoined that
he be punished, " and if he has anything to
remember against the organist, he must bring it
forward at the proper place, and not take the
matter into his own hands."
The Consistory dealt very patiently with the

young organist (he was only eighteen when he

received the appointment), and waited eight
months without receiving the explanation they

FACSIMILE OF MS. TITLE PAGE OF THE CHURCH

CANTATA, "GOD IS MY KING" (1708).

HIS LIFE
had ordered him

to render within

eight

days.

The

unruly scholars, and perhaps his wounded

pride, led him to look out for another place,
which he obtained in 1707 at Miihlhausen, as
organist of the Church of St. Blasius. In October
of the same year he married his cousin, Maria
Barbara Bach, daughter of Johann Michael Bach,
The marriage took place at
organist at Gehren.
Arnstadt, and the Consistory remitted the usual
fees, thus showing that they had forgiven him for
"
confounding them in the chorales."
At St. Blasius he had to compose a cantata for
the yearly election of the Town Council, and in
1708 produced his God is my King (No. 71 of the
Bachgesellschaft edition), said to be the only one
printed in his lifetime.
The organ of St. Blasius being in bad condition,
Bach had to superintend the repairs, for which
he was eminently fitted, having a thoroughly
practical knowledge of organ-building, and, in
fact, of musical instruments in general, for he
is said to have invented new instruments.
At Miihlhausen troubles arose between the
Pietists

(who seem

to have corresponded to our

Puritans in their austere views as to life and art)

and the Orthodox Lutherans, into which troubles

Bach seems to have been drawn, and to have

taken the opposite side to his own superintendent,
Frohne, Dean of Miihlhausen, who was a Pietist,
The champion of the Orthodox Lutherans was
Eilmar, who, in 1710, stood godfather to Bach's
first son.
These dissensions led Bach to seek
peace elsewhere. This he found at Weimar,

BACH

where Duke Wilhelm Ernst made him Court

The Duke
Organist and Chamber Musician.
was a man of piety, a zealous churchman, and a
patron of science and art. Spitta says: "The
Court of Weimar stands forth among those of the
Princes of the period as Bach himself does among
composers for the Church ; they seem made for

each other."
And Hilgenfeld " Here Bach
devoted himself to acquiring that overwhelming
mastery of the organ for which his fame is assured
for all time ; and also laid the foundation for his
:

future greatness as a composer."

The organ at the castle was not large, but

a powerful pedal-organ.
follows

Its specification

had

was as

Upper Manual.
Ft.

Ft.
1.

Principal

2.

Quintaton
Gerashorn
Gedackt
Quintaton

3.

4.
5.

6.

16

7.
8.

9.

Octave

Mixture.

Cymbal.
Glockenspiel.

Lower Manual.
Ft.

Ft.

Principal
Viol dagamba

5.
6.

3.

Gedackt

7.

Small gedackt
Octave
Waldflote

4.

Trumpet

8.

Sesquialtera.

1.

2.

4
2

Pedal Organ.
Ft.

Ft.

2.

Great untersatz
Sub-bass

32
16

5.
6.

Trumpet

3.

Posaune

7.

Cornet.

4.

Violon bass

16
16

1.

Principal

HIS LIFE

As Chamber Musician, Bach had to perform

both on the violin and clavier. He subsequently
became concertmeister i.e., leader of the band.
This numbered twenty-two, including singers,

who

also played instruments.

While

Weimar Bach had

to superintend the
organ at Miihlhausen,
according to his promise given when he left
there.
It is supposed that the remarkable regis-

repairs

at

of

his

former

indicated in the choral prelude, Eine

i.e., L. H. bassoon, R. H. sesquialtera
was for the renovated Miihlhausen organ, inasmuch as the Weimar organ possessed no bassoon
It is a curious fact that Bach never in any
stop.
of his appointments had an organ worthy of his
powers.
Notwithstanding the smallness of the
castle organ, Mizler says of Bach's work during his
nine years' residence in Weimar: "The benevolence of his gracious Sovereign inspired him to
attempt all that was possible in the art of hand
ling the organ, and here it was that he composed
most of his organ pieces." Here, too, he became
acquainted with Italian chamber music, and
arranged sixteen of Vivaldi's violin concertos for
clavier, four for organ, and another for four
pianos with string accompaniment.
In 1713 Bach visited Halle, where a large new
organ of sixty-three stops was being erected, on
which he performed with great success.
The
tration

feste

Burg

organist's

post

being

vacant,

Bach,

tempted by the large organ, applied

probably
but
it,

for

ultimately withdrew, the salary offered being less

than that he received at Weimar. Ever anxious to

BACH

io

Bach went in 1714 to Cassel, where was a

Here
flourishing opera with Italian performers.

learn,

he performed on the organ before the Crown

Prince Friedrich, afterwards King of Sweden,
"
and so filled him with astonishment and
admiration by his marvellous execution of a
pedal solo that the Prince drew from his finger a
ring set with precious stones, and presented it to
"
the master (Spitta).
On the first Sunday in Advent of the same
year Bach was in Leipsic conducting his cantata
Nun komm, der Heiden Heiland (" Now come,
Saviour of the Gentiles "), where he made the
acquaintance of Kuhnau, Cantor of the Thomas
Schule, an office afterwards held by Bach himself.

Athough he had refused the post of organist at

Halle, this did not prevent his being called in, in
conjunction with Kuhnau and Rolle of Quedlinburg, to report on the new organ on its completion in 1716.
The year 1717
French organist

is

noted for a challenge to the

and

clavier player,

Marchand,

who had made

a great sensation in Dresden, to

a friendly competition with Bach.
Marchand
"
accepted, but,
thinking discretion the better
part of valour," left Dresden by express post on
the morning of the day on which the competition
was to take place.

Returning to Weimar, Bach had to prepare

for a jubilee in celebration of
the two - hundredth anniversary of the Reformation.
This occasion is supposed to have

and compose

HIS LIFE

ii

brought forth the magnificent church cantata

based on Martin Luther's hymn and tune Eine
feste Burg, although he seems to have rearranged
it

in 1730.

About 1715 Bach repaid his obligations to his

elder brother by taking his second son to live
with him as his pupil.
In November, 1717, we find him in Cothen as
Kapellmeister to Prince Leopold of AnhaltCothen, a disappointment in not succeeding
Drese as Kapellmeister at Weimar probably
being the cause of his leaving that place. At
Cothen he held no organ appointment, nor does

he seem ever to have done so after leaving

Weimar.
The Prince was a man of culture and a patron
of the arts, especially of music, in which he
showed great taste, playing upon two or three
His appreciation of Bach was such
instruments.
that they were much together, Bach having to
accompany him on his journeys. In 1718 and
1720 the Prince took him and six members of
At the baptism of
the orchestra to Carlsbad,
Bach's seventh child in 1718 the Prince and his
brother and sister stood sponsors.
In the same year Bach was called to Leipsic to
report on the new organ in St. Paul's Church.
On his return from Carlsbad in July, 1720, he
received the heartbreaking news that his wife,
whom he had left in good health, had died and
was buried.
In November, 1720, he was in Hamburg,
performing

new

cantata,

He

that

exalteth

BACH

12

Rcinken was still living, and playing the

himself.
organ at St. Catherine's, though now ninety-seven
The post of organist at St. James's
years of age.

Church being vacant, Bach was tempted by the

large organ of sixty stops and four manuals to
His official duties recalling him to
apply for it.
Cothen, he was excused the competition on
account of his great reputation, and had to notify
acceptance of the office by letter. The committee, however, elected an unknown man who
had paid 4,000 marks to the treasury of the
his

church.

SECOND MARRIAGE AND FAMILY

In December, 1721, Bach took to himself a
second wife, in the person of Anna Magdalena

Wiilken,aCourt singer at Cothen, aged twenty-one.

Writing to his friend Erdmann in 1 730, he says
"
of her and his children
They are one and all
born musicians, and I can assure you that I can
already form a concert, both vocal and instru:

mental, of my own family, particularly as

present wife sings a very clear soprano, and

my
my

Anna Magda"a help meet for him,"

eldest daughter joins in bravely."

lena seems to have been

for she assisted in

copying out his music. By

her he had thirteen children
six sons and seven
daughters making, with the seven by his first
Of the twenty only nine
wife, twenty in all.
survived him.
In 1723 Bach removed to Leipsic as Cantor of

_ X

HIS LIFE
the

Thomas

Schule.

The

13

reason of his leaving

Erdmann quoted
youth up my fate has been
known to you until the last change, which took
me to Cothen. There lives a gracious Prince,
who both loves and understands music, and with
him I purposed to spend the closing term of my
life.
However, as it fell out, the above-mentioned serenissimus married a Princess of Berenburg, and as then it began to appear as though
the said Prince's musical inclination was growing
somewhat lukewarm, and at the same time the
new Princess seemed to despise my art, it was
the will of God that I should be called to be
Cantor in the Thomas Schule. Still, at first it
did not perfectly suit me to become Cantor from
having been Kapellmeister, for which reason my
resolution was delayed for a quarter of a year.
However, this position was described to me as so
Cothen

above.

is

'given in the letter to

" From

my

favourable that at last, particularly as my sons

seemed inclined to study here, I ventured in
the name of the Highest, and betook myself to
He, however, retained the post of
Leipsic."
honorary Kapellmeister to the Prince of Cothen,
and composed a birthday cantata for one of the
Princesses, and a Trauer Ode on the death of his

beloved patron.
At Cothen, where he had no church duties,
Bach seems to have devoted himself chiefly to

chamber compositions.
"

The

Well-tempered Clavichord

"

first book of the

bears the date of

1722.

The

"The

Well tempered Clavichord;

title

given by

Bach

is

as follows

or,

Preludes

BACH

14

and Fugues

Tones and Semi-tones,

or, ut, re, mi, and
with the Minor Third, or, re, mi, fa.
For the
Use and Practice of Young Musicians who desire
to learn, as well as for Those who are
already
Skilled in the Study, by Way of Amusement.
Made and Composed by John Sebastian Bach,
Kapellmeister to the Grand-Duke of AnhaltCothen, and Director of His Chamber Music, in
the Year 1722."
in all the

both with the Major Third,

In explanation of the title "Well-tempered

Clavichord," it may be observed that it advocates
the equal temperament in tuning, afterwards
strenuously advocated by Crotch in England.
The old system of unequal temperament made
the keys of C, F, G, and
well in tune at the
expense of the others. As long as composers
were contented with one or two keys, and did
not modulate much, the unequal temperament
served ; but with bolder modulation came the
necessity for another system of tuning. If twelve
fifths from C are tuned
perfectly, the last note of
the twelve, B-sharp, will be too sharp to do
duty
as C, as it has to do on keyed instruments.
Hence the excess has to be distributed amongst
the twelve fifths, making each a little flat.
In
the "Well-tempered Clavichord," Bach moves
through all the twenty-four major and minor

keys, taking them in chromatic order, thus

The same plan
insisting on equal temperament.
obtains also in Book II., dated 1744.

The
were

Cantor's duties at the Thomas Schule

the taking of some classes in Latin ; the

i >-.'

-T

*.<.

-.

..:',

...'^V,

"t

.-

rt.*''^,.

PX.
-

'

'

ff-

1-

*-~*-

r^iVix^c,

itr-.

^v

'^,

FACSIMILE OF BACH'S MS. TITLE PAGE OF THE

"WELL-TEMPERED CLAVICHORD"

(1722).

HIS LIFE

15

teaching of music, both vocal and instrumental ;

and the superintendence of the music in the
churches of St. Thomas and St. Nicholas. The
Thomas Schule had also to supply choirs for

one

two other churches, for weddings,

and occasionally for University functions.
Although a good Latin scholar, Bach after a time
or

funerals,

As
engaged a deputy for his Latin classes.
Cantor he ranked third amongst the four headIn the
masters, the rector being the head.
churches he was subject to the superintendent
and to the Consistory ; in the Thomas Schule to

The
the Consistory and to the Town Council.
discipline of the school when Bach entered it
was lax, the rector, Ernesti, being an old man,
and, although learned, unable to control either
The insubordination of the
masters or boys.
boys seems to have been a continual trouble to
Bach, for after his death it was remarked in the
Town Council that " Herr Bach had been a great
musician, but not a schoolmaster," and that "the
school needed a Cantor, and not a Kapellmeister."
Bach, as befitted so great and universal a genius,

had always

insisted

on being something more

than a Cantor.

He

had troubles with the University authorities

on which he petitioned the Elector
of Saxony, who was also King of Poland, in
these words
as to his fees,

"

May your

Royal Majesty and most Serene Highness

graciously permit me to represent, with the humblest

submission, with regard to the directorship of the music
for the old and new service of the church in the wor-

BACH

16

shipful University of Leipsic, that, together with the

salary and usual fees, they had always been associated
and joined with the; place of Cantor at St. Thomas's,
even during the lifetime of my predecessor that after
his death, and while the post was vacant, they were
given to the organist of St. Nicholas, Corner and that
on my assuming my office the direction of the so-called
old service was restored to me again, but the payment
was withheld, and assigned, with the direction of the
new service, to the above-mentioned organist of St.
Nicholas and although I have sued duly to the Worshipful University, and made application that the former
regulations may be restored, I have not been able to
obtain anything more than that I should have half of
;

the salary, which formerly amounted to twelve gulden.

Nevertheless and notwithstanding, most Gracious King
and Elector, the Worshipful University expressly required and assumed that I should appoint and direct
the music for the old services, and I have hitherto fulfilled this function
and the salary which has been given
to the director of the new service did not formerly belong
to it, but properly to the old service, and at the same
time the new were connected with the old and if I
were not to dispute the right of directing the new service
with the organist of St. Nicholas, still, the retention of
the salary which formerly and at all times nay, even
before the new cultus was instituted belonged to the
;

Cantor is extremely painful and prejudicial to me and

church patrons are not wont to dispose otherwise of
what is assigned and fixed as the regular payment of
a church servant, either withholding it altogether or
reducing it, while I have already for more than two
years been forced to fulfil my duties concerning the
above-mentioned old services for nothing. Now, if my
humble suit and petition may find favour with your
Royal Majesty and Most Serene Highness, you will
graciously communicate it to the Worshipful University,
to the end that they may restore the former state of
things, and assign to me with the direction of the old
service that also of the new, and more particularly the
full salary of the old service and the enjoyment of the
;

HIS LIFE

17

And for such royal and

fees accruing from both.
gracious favour.
" I shall ever
remain.
" Your
and Serene Highness's
Royal Majesty's
" Most humble and obedient
"
JOHANN SEBASTIAN BACH.
"
LEIPSIC,
"
September i^th, 1725."
It is to

the credit of the

German Courts

with

which Bach had to do that they appreciated his

genius, and accordingly the above petition was
answered within three days by a requisition from
Dresden to the University to relieve the petitioner
or show cause to the contrary.
Another trouble was with the subdean of
St. Nicholas, Gaudlitz, about the choosing of the
hymns, which had formerly been in the hands of
the Cantor.
for a year,

made

After submitting to this interference

Bach could endure

it

no longer, and

the hymns he himself

appointed, whereupon Gaudlitz reported him to
the Consistory, who sided with the subdean.
Bach, with his usual shrewdness, appealed to the
Council against the Consistory, but how the
matter ended is not known.
Although the Sf. Matthew Passion had been
produced in 1729, we find a member of the Town
Council, on the occasion of selecting a successor
to Ernesti as rector in 1730, expressing a hope
" that
they might fare better in this appointment
than in that of the Cantor." Bach was accused
of doing nothing, but they themselves were to
blame for not seconding his endeavour to
have the foundation boys, who supplied the
the

choir

sing

BACH

i8

material of his choirs, chosen for their musical

In an election of nine boys, only
qualifications.
five of ten tried and reported on by Bach were
elected, the other four selected not having offered

themselves as musicians.

Writing to
"

I find

Erdmann

at this time,

Bach

says

is by no means so
was described to me. Many fees
are stopped the town is very dear to

that this appointment

advantageous as

it

incidental to it
live in
the authorities are very strange folks, with
small love for music, so that I live under almost constant vexation, jealousy, and persecution, and I feel
compelled to seek, with God's assistance, my fortune
elsewhere. If your Excellency* should know of, or be
able to find, a suitable appointment in your town for
your old and faithful servant, I humbly crave you to
give me the benefit of your favourable recommenda;

Nothing shall be wanting on my part to give satisfaction and justify your favourable recommendation and
intercession.
present position secures me about
700 thalers, and when there are rather more deaths
than usual the fees increase in proportion but it is a
healthy air, so it happens, on the contrary, as in the
past year, that I lost above 100 thalers of the usual
funeral fees.
In Thuringia I can do more with 400
thalers than here with twice as many hundred, by
reason of the excessive cost of living."
tion.

My

However, the appointment of Gesner, whom

Bach had known in Weimar, to the rectorship of

Thomas Schule gave a brighter turn to

Under him, says Spitta,
things.
" dawned a new
period on the fallen fortunes of the
school.
Together with a vast store of practical learn-

the

Erdmann was Hofrath

resident at Dantsic.

to the

Russian Empire, and

HIS LIFE

19

he possessed in an eminent degree the power of

resolute firmness was combined in his
governing
character with humanity and gentleness in his conduct
to the Council he was uniformly polite, but decided.
It was inevitable that he should soon win their high
esteem and complete confidence indeed, he was from
the first treated by the authorities with a distinction
which proves that they were not so absolutely devoid of
ing,

all

sense of intellectual superiority as

from Bach's experience."

we might perhaps

infer

Understanding and appreciating to the full

Bach's stupendous genius, he supported him in
his effort to improve musical matters, and endeavoured to establish better relations between him
Unfortunately for Bach, he
only remained till 1734, when he was called to

and the Council.

the University of Gottingen.

COMPOSES HIS MASS IN B MINOR.

In 1733 Bach presented the two first movements of his great B -minor Mass to the King and
Elector at Dresden, with a petition that he would
grant him a Court title, which might insure him
against being further troubled by the Leipsic
Council.
This, however, he did not obtain till
1736, when he was appointed composer to the
Court.

On

Gesner's call to Gottingen, he was succeeded

by another Ernesti, who, since 1732,

as rector

had been conrector. Bach, at first, got on very

well with him.
He had already asked him to be

BACH

20

godfather to one of his sons, and in 1735 invited

to act as sponsor to his last son, Johann
Christian.
After a time, however, trouble arose
through the interference of Ernesti in the appointment of the choir prefects, whose office it was to
be the Cantor's deputy, both in training the boys
and conducting the music in church. Here is
Bach's account of the trouble in his appeal to the

him

Council

"
May it please your Worships graciously to allow me
to represent to you that, according to your Worships'
ordering of the school of St. Thomas, it pertains to the
Cantor to choose from among the scholars those whom
he considers fit and able to be prefects, and in electing
them to have regard, not only to the voice, that it be
good and clear, but also to see that the prefects, and
especially the one who leads the first choir, shall be
able to undertake the direction of the choir in the
absence or illness of the Cantor and whereas this rule
;

has been hitherto observed by the Cantors without the

concurrence of the Rectors, yet, and notwithstanding,
the present rector has lately endeavoured, without my
knowledge and approval, to assume the appointment of
the prefect in the first choir, so that he recently appointed
Krause, the prefect of the second choir, to be the prefect
of the first choir, and refuses to withdraw in spite of all
my civil remonstrances. Since I cannot suffer this to
pass, being against the aforesaid order and traditional
usage of the school, and to the prejudice of my suc-

cessors and to the injury of the choir, I now present to

your Worships my most dutiful petition graciously to
decide this difference between the rector and myself in
my office and because this presumption on the part of
the rector to the appointing of the prefects might lead
to strife and to the prejudice of the scholars, I pray that
in your great benevolence and care for the school of
St. Thomas you will direct the rector to leave for the
future, as hitherto, and according to the order and usage
;

HIS LIFE

21

of the school, the appointment of prefects to myself

and thus graciously protect me in my office."

alone,

The dispute dragged on until October, 1737,

when Bach appealed to the King Elector, who
on the Consistory to settle the matter.
After this, except for an attack on his compositions
called

by one Scheibe (a disappointed candidate for the

organist's post at St. Thomas's Church), in which
"Bach's church pieces are constantly
and tedious, and by no means so
full of impressive conviction or of such intellectual
reflection as the works of Telemann and Graun,"
Bach seems to have been allowed to live in
he

says,

more

artificial

peace.

On being appointed Composer to the Court in

1736, he paid a visit to Dresden, and performed
on a new organ by Silbermann. Amongst his
audience was the Russian Ambassador, Baron
Hermann Carl von Kayserling, for whom he
wrote the thirty variations known as the " Gold"

berg

variations,

and who,

in return,

gave Bach

Goldcontaining TOO louis d'or.

berg, who was a protege of the Baron and a
pupil of Bach, had to play the variations to his
patron, hence the name by which they are known.
That he was able to do this bespeaks him an
artist of rare attainments.
In 1747 took place the memorable visit to
Berlin, when Bach played before Frederick the
Great, and was asked to extemporize a fugue in
six parts, also a fugue on a theme given him by
the King.
This theme he afterwards worked up
a

snuff-box

into

The Musical Offering (Musikaltsches Offer),

BACH

22

which

he

dedication
"

sent

the

King with the

following

MOST GRACIOUS KING,

"

I herewith dedicate to your Majesty, with the

deepest submission, a musical offering, of which the
noblest portion is the work of your Majesty's illustrious
hand. It is with reverential satisfaction that I now
remember your Majesty's very special royal favour
when, some time since, during my stay in Potsdam,
your Majesty condescended to play the theme for a
fugue to me on the pianoforte, and at the same time
graciously commanded me to work it out then and there

It was my humble duty to obey

your Majesty's command. But I immediately perceived
that, for lack of due preparation, the performance was
not so successful as so excellent a theme required.
I
accordingly determined, and at once set to work, to
treat this really royal theme more perfectly, and then
to make it known to the world.
This undertaking I
have now carried out to the best of my ability, and it
has no end in view but this very blameless one to
exalt, though in only a trifling matter, the fame of a
monarch whose greatness and power must be admired
and respected by all, and particularly in music, as in all
the other sciences of war and peace. I make so bold,
therefore, as to add this most humble petition, that your
gracious Majesty will condescend to grant this present
little work a gracious reception, and to continue to
vouchsafe your gracious favours to
" Your
Majesty's
" Most obedient humble

in the royal presence.

"

"

servant,

THE AUTHOR.

LEIPSIC,

"July

This

7.

1747."

"little

work"

consists of a

"

ricercare

"

(fugue) in three parts, nine canons of extraordinary

ingenuity, a ricercare in six parts, and a trio in
four movements for flute, violin, and continue.

HIS LIFE

23

known, Frederick the Great was a

and
composer. Here is the theme
flute-player
on which the whole work is based, and it speaks

As

is

well

well for the royal musicianship.

tr

LATER WORKS AND LAST DAYS.

In 1749 and 1750 he was engaged on The Art
of Fugue, a work of similar character to The
Musical Offering, based on the following theme
:

This
it

is

his last great work.

began to fail.

his eyesight

on by an English

oculist,

While composing
was operated

He

John Taylor, then in

The same oculist

Leipsic, but without success.

operated afterwards on Handel, likewise without

success.

Bach died of apoplexy on Tuesday, July 28,

and was buried in the churchyard of

1750,
St.

John's, Leipsic.

On

the occasion of rebuild-

John's Church in 1894 his remains were

ing
exhumed. They were found at the spot which
St.

BACH

24

had assigned to them, and which was

pointed out to the writer by Mr. Algernon Ashton
tradition
in 1880.

On

son-in-law

and

Before

Thy

his

deathbed Bach dictated to his

pupil, Altnikol, the choral prelude

throne I come known also as When
',

in our deepest trouble.

Of his surviving children the

most noted were

the eldest son, Wilhelm Friedemann, said to have

been the greatest organist of his time ; the third
"
that he could
son, Philip Emanuel, who, saying
not emulate his father," struck out into a new line
and became the connecting-link between Scarlatti
and Haydn ; and Johann Christian, eleventh son,
known as the Milanese or English Bach, he
having been at one time organist of Milan
Cathedral and afterwards concert director in
London, where he died in 1782, and was buried
in the old St. Pancras Churchyard.

CHURCH WORKS BY BACH

the

first

IN B-minor

rank of these stands the colossal

Mass

the Protestant Mass, as it

has been called.
It seems that the Communion
Service of the Lutheran Church was still called
the " Mass," and was occasionally said or sung
in Latin, or at least those portions of the Roman
ritual
which were retained in the Lutheran
service
i.e., the Kyrie, Gloria, Credo, and occaIn the Latin, Bach adheres
sionally the Sanctus.
to the Lutheran version, and movements from
this Mass are said to have been performed in the
Leipsic churches with which Bach had to do.
No words can describe the stupendous grandeur
of this work. It must be heard to be appreciated.
But, being too long for ritual purposes, it unfortunately cannot be heard in its true home, the
church.
It has been several times performed by
the Bach choir in London, and was produced at
a Leeds festival, with great success, under Sir
Arthur Sullivan. But concert conditions do not
suit the work.
With a choir of 300 voices the
balance between instruments and voices is lost,
so that when the trumpets and drums are silent
The same
there is too little accompaniment.

25

BACH

26

want of balance may be observed

festival

at the

Handel

Palace, the

in the

accompaniCrystal
ment being scarcely audible when organ and
Brahms' Requiem is another
brass are silent.

work

that is spoilt by a large chorus, the delicate

The
orchestration being quite swamped by it.
organ has a much more important place in
Bach's church works than it is allowed to assume
in

our concert-rooms.

Although scarcely credible,

numbered only three

voices to a part, while his complete orchestra,
including three trumpets and drums, numbered
it

is

said

that his choir

And here may be

only eighteen performers.
remarked the extraordinary effect of the entries
of trumpets and drums in Bach's works. Limited
as the brass instruments were to their natural
notes, they have much more effect in Bach than
our modern instruments with their chromatic
scales have in modern works.
The very reticence which their primitive state necessitated
gives their entries

much

greater force.

As a subsequent chapter is devoted

analysis of the Mass, we proceed to speak

to

an

of the

Passions.

THE PASSIONS

Of these Bach is said to have written five, but

two only remain \heSt. John and the St. Matthew
which we can accept with absolute certainty as
Bach's, the smaller passion according to St. Luke
being of doubtful authenticity. The St. Matthew

HIS

CHURCH WORKS

27

generally held to be the greater work, but two

i.e., the recitative
things excel in the St. John
Between
and the chorales, or hymn-tunes.
1724, the date of the first performance of the
St. John Passion, and 1729, when the St. Matthew

is

was produced, Bach seems to have been influenced by the secular recitative which he frequently heard in the opera at Dresden, and
accordingly the St. Matthew recitative is more in
The grand
our modern conventional style.
chorus, with choral "O man, thy heavy sin
lament," in the St. Matthew formed originally
the first chorus of the St. John Passion.
The St. Matthew was revived by Mendelssohn
at Berlin in 1829
exactly 100 years after its
In England it was
first performance at Leipsic.
first given by the Bach Society under Sterndale
Bennett in the Hanover Square Rooms in 1854,
and was repeated by them in St. Martin's Hall,
Long Acre, in 1858, when the writer was present,
and well remembers how excellently the loving
piety of the work was brought out by Bennett.
Later conductors have laid more stress on its
dramatic character. Dramatic it is, but loving
piety is its salient feature, as' it is also of the
St. John Passion^ and, in fact, of all Bach's
church works.
Sir Joseph Barnby gave performances of the
St. Matthew in Exeter Hall, Westminster Abbey,
and the Royal Albert Hall, and instituted performances of the St. John in St. Anne's Church,
Soho, which have been continued ever since, the
work being given there every Friday in Lent.

BACH

28

The

Matthew is performed annually at

Cathedral in Holy Week.
The Christmas Oratorio consists of six separate
church cantatas combined into one whole, each
St.

St. Paul's

cantata beginning and ending in the same key, and

the whole work likewise. The separate cantatas
are designed (i) for the first Christmas festival
(2) for the second Christmas festival ; (3) for the
third Christmas festival ; (4) for the Feast of the
Circumcision (5) for the Sunday after the Feast
of the Circumcision ; (6) for the Feast of the
;

Epiphany.

They

contain eleven

movements taken from

secular cantatas, but these are so solidly

written that they bear the transference without
any violation of the fitness of things. Exception
an echo song, in
might be taken to one of them,
"
which the words, " Yea, yea and " Nay, nay "
his

are echoed

but Bach, with

all

his reverence

and

was not at all straitlaced in his notions

of what was admissible in church.
This oratorio presents Bach in his greatest
versatility, for in it we have strains of exuberant

piety,

joy

contrasted

with

lowly

adoration

of

the

mystery of humility in the God-made man ; of

"
pastoral simplicity in the scene of the
shepherds
"
keeping watch over their flocks by night ; of
tenderness
in
the
cradle
and
other
loving
song
of thankfulness in the New Year's
passages
Day portion of indignation and defiance in the
soprano recitative and air addressed to Herod,
concluding with a triumph song of victory.
Only once occurs the sombre hue of the passions,
;

HIS

CHURCH WORKS

29

and

that in a very remarkable situation.

Zion is
upon to prepare herself to receive the
"
Oh, how shall
Bridegroom, and in reply asks,
I receive Thee?" this being set as a choral,
called

no other than the one known as

Blut ttnd Wunden (" O Head full
of Blood and Wounds "), and which occurs no

and

that choral

O Haupt

voll

than five times in the St. Matthew Passion,

thus rather ironically indicating that Zion's reception of the Bridegroom will be to crucify Him.
To enhance the solemnity of the allusion, the
choral is harmonized in the Phrygian mode.
The same choral is used as a song of victory to
conclude the oratorio, but is there set in modern
tonality, and in a march-like movement in which
less

trumpets and drums figure largely. By repeating

this choral as the song of victory he links the
victory with the Cross.
The Christmas Oratorio was performed once in
1866 by the Bach Society under Sterndale
Bennett, and during the last three years has

been performed weekly during Advent and Christmastide at St. Anne's, Soho.
A kindred work is the Latin Magnificat, also
written for the Christmas festival, and produced
by Bach at St. Thomas's Church, Leipsic, with
hymns in German interpolated between the

movements.

The

trio Suscepit Israel is

accom-

panied by oboes playing the ancient Magnificat chant

a version of the Tonus Peregrinus
which he has used also as the basis of his
German Magnificat or Church Cantata for the
Annunciation, and as the subject of one of

BACH

30

organ fugues. Mozart has used the same

chant in his Requiem at the words "Te decet

his

hymnus."
In the ending of the symphony, after the words
"et divites dimisit inanes" ("and the rich He
hath sent empty away "), Bach indulges in a bit
of realistic humour, thus
:

Flutes.

Continue.

Franz, in his arrangement of the Magnificat

modern orchestra, has spoilt this passage

(which was a second thought of Bach's, the first
version being different) by the insertion of a chord
on the last bass note, as he has similarly spoilt a
most impressive silence in Handel's "He was
for a

despised."

Other examples of Bach's humour are the cockcrowing passages in the Passions, the Peasant's
Cantata, and in the cantata The Strife between
Phoebus and Pan, when Midas alludes to his ears

he anticipates Mendelssohn
Night's Dream."
Bach is said

to

in the

"

have composed

Midsummer
five

years'

courses of church cantatas.

Of these 210 remain,
including the six comprised in the Christmas

HIS

CHURCH WORKS

31

Many of them are based on the choral,

most the choral appears ; some few are
for single voices, and one or two are dialogues.
Messrs. Novello and Co. have issued English
Oratorio.

and

in

some of the cantatas, and Messrs.

Breitkopf and Hartel are also issuing English
versions, in which the German text is closely
followed, even to the retention of the three I's
"
I had great
(Ich) at the commencement of
heaviness of heart," which in Novello's edition are
"
altered to
Lord, Lord, Lord." There is so deep
a religious motive, and sometimes so poetical a
versions of

design in what Bach does that nothing, however

startling it may at first sight appear, ought to be
wantonly altered. He is not only a great composer,
but also a profound religious teacher, as these
church cantatas plainly show. The lesson he
seeks to inculcate in the three emphatic I's, each
echoed by the orchestra, may be that the heaviness
"I "
of heart was caused by too much
and too
little of God.
The words of the choral, which
occurs later on, seem to indicate this.
The cantata Thou shalt love the Lord thy God

and

thy neighbour as thyself, is

instruments playing the
accompanied by
choral These be the holy Ten Commandments.
To the deep significance of the first choral in the
Christmas Oratorio we have already alluded.
The words of the cantatas are sometimes very
homely, but forcible and real. One speaks of sin
with its " capital and interest," another has some"
"
Weinen and
thing like a pun on the words
" Wein "
"
water of weeping (Weinen), now
ivith all thy heart,

the

BACH

32

Of the echo song in

turn into wine" (Wein).
the Christmas Oratorio we have already spoken.
The cantata Schlage dock, gewilnschte Stunde
(" Strike now, long wished-for hour ") has an
accompaniment of two bells.
In view of the fact that they require only a
small orchestra (Bach's complete orchestra with
three trumpets and drums seems to have numbered
only eighteen instrumentalists), these compositions are much more desirable for orchestral
than excerpts from oratorios, usually
performed with an incomplete orchestra. Moreservices

over, they are written for the church, and, therefore, for

devotional purposes.

There are also Motets without orchestra, most

To one of them, howof them for double choir.
The Spirit Jielpeth our infirmities Bach
ever
has left orchestral and organ accompaniments.
The one best known in England, / wrestle and
pray,

is

of doubtful authenticity, as

is

also Blessing

and glory.

The so - called Easter and Ascension Day

Oratorios have only the dimensions of a church
cantata.

BACH'S

AS

ORGAN WORKS

a composer for the organ, Bach occupies

a similar position to Beethoven in the

orchestra.
He reigns supreme, and his works
are to this day the most exacting in technical
requirements.
They comprise six sonatas for two manuals
and pedal, a passacaglia, a pastorale, toccatas,
fantasias, a large number of choral preludes, and
The latter are
a host of preludes and fugues.
well known, "but the choral preludes are not so
much studied as they ought to be, for in them
we get some insight into Bach's treatment of the
organ, indications of which in the preludes and
Moreover, those for
fugues are exceedingly rare.
double pedal are excellent studies in legato pedalTo the use of stops in the choral preplaying.
ludes Best's edition (Messrs. Augener and Co.)
maybe some guide, the pedal being frequently used
to play the choral on an 8 or 4 foot stop.
Beyond
indicating this and the number of manuals, Bach
left scarcely any directions as to registering, so
that it is open to the player to consult his own
taste and the composition of his organ in this

matter.
33

BACH

34

of modern organ-playing is to run

changing stops for the mere sake of change ;
but, just as in architecture ornament should grow
out of construction, so in organ-playing registration should grow out of construction. A logically
developed fugue demands continuity, and cannot
well be split up into fragments ; at trie same time
The
gradations of force need not be sacrificed.
episodes can have a slightly reduced tone by

The tendency

riot,

either closing the swell-box or putting in a stop

in the great organ (see Mendelssohn's fugue in
minor, where the entries of the theme are

marked f, and the episodes mf), but the same

tone colour must be maintained.
Fugues like the St. Anne's, the C minor on a
theme by Legrenzi, and the great E minor, have
clearly marked breaks where a change of manual
will be appropriate ; the toccata in C major, and
minor demand frequent
the toccata and fugue in
changes of manuals, while the passacaglia requires
some slight modification of tone at each variation,
but, as before said, the continuous, logicallydeveloped fugues do not lend themselves to such

treatment.

BACH'S

WORKS FOR CLAVICHORD

the front rank of these stand the thirty

Variations, written for a clavichord
with two manuals.
They form the fourth and
last book of the Clavieriibung, published in 1731.
Every fourth variation is a canon ; the first canon
in the unison, the second in the second, the

IN Goldberg

being extended one degree in each

succeeding canon. The work with repeats takes
more than an hour in performance, but so
interval

that the interest,

never flags. Some
of the brilliant variations tax to the utmost the
powers of a modern player, while the passage
writing anticipates the technic of a later age.
diversified are the

whether of player or

variations
listener,

Although some are written for two manuals, it is

them on one, and Messrs. Peters
have published an edition arranged and fingered

possible to play

that purpose.
The last variation is a
quodlibet, or pot-pourri of different melodies
worked together. An analysis of the work by
Mr. Tovey is published by Mr. Joseph Williams.
Part I. of the Clavieriibung consists of the six
partitas, also amongst his finest works.
Although
it is not oossible in these
pages to describe them
for

35

32

BACH

36

cannot forbear quoting the

minuet of the fifth partita, which, with its duple
time melody in a triple time movement, anticipates
"
"
Grand Valse in A flat, Op. 42Chopin's

in detail, the writer

CHOPIN.

Part

II.

contains

the

well-known

Italian

Co.ncerto.

Part III. consists of choral preludes and duets,

the former evidently written for the organ, the
latter for the clavichord.
Strangely enough, the
prelude in E flat is placed at the commencement
of the part, and the corresponding fugue (St.
Anne's) at the end. That they belong to each

FACSIMILE OF BACH'S MS. OF THE FUGUE IN

A[J

BK.

R,

NO. 17 OF

'744)-

THE "WELL-TEMPERED CLAVICHORD,"

HIS
other

is

WORKS FOR CLAVICHORD

evident

from

their

relationship

37
in

character.

Part IV. consists, as we have already said, of

the Goldberg Variations.
Of the Well-tempered Clavichord we spoke when
writing of the Cothen period.
The English suites are very fine works, having

preludes developed at great length. The French

suites are of smaller dimensions.
Another great work is the Chromatic Fantasia
and Fugue, the former remarkable for its recitative passages, anticipating Beethoven and Mendelssohn.
Billow's edition will be a guide as to
the playing of the arpeggioed chords, which ought
to proceed downwards as well as upwards, but he
has perhaps indulged with too great freedom in
alterations of the text.
For smaller players Bach wrote inventions in
two parts, sinfonias in three parts, and six small

preludes.

Besides the above-mentioned he has left us a

host of toccatas, preludes, and fugues.
few words on the performance of Bach's
clavier works may not be out of place, seeing that
they are sometimes grievously maltreated when

played in public.
It must be premised that, like all old music,
these bear no marks of expression.
An indication of movement, or of modification of tone, is
of very rare occurrence, so that the performer has
to give his own reading of the work.
Now

some

pianists, knowing that Bach is sometimes

stupendous on the organ, think he must also be

BACH

38

stupendous on the piano, and accordingly adopt

what has been aptly termed the " hammer and
"
tongs
style of performance.
Apart from the
fact that in the clavier works there are no passages
corresponding to the mighty outbursts on
the organ, it has to be remembered that the
clavichord (which instrument Bach preferred to
the newly invented pianoforte) had a most delicate
and ethereal tone, and therefore did not lend

at all

to anything heroic, still less stupendous.

Moreover, an artist who can play both instruments
will not seek to assimilate them, but will delight in
their difference.
Also, let it be added, there is
itself

as

much

refinement, and that of the noblest, in

any modern composer. The writer

once heard Sterndale Bennett play the fugue in
A minor at the end of volume 3 of the Bach
Gesellschaft edition (then just issued), the theme
of which so closely resembles in outline that of
the great A minor organ fugue, and although the
work affords many opportunities for vigorous
crescendos, Bennett did none of the heroic, but

Bach

as in

played it with a quiet cantabile touch, varied by

undulations of crescendo and diminuendo.

BACH'S ORCHESTRAL

WORKS

E consist of (i) the six Brandenburg

concertos, so called because they were
dedicated to the Margraf of Brandenburg ; (2)
the name
the four overtures, or, rather, suites
of the first and most important movement being
made to cover a series of movements, mostly in
J-

dance form, such as courantes, gavottes, minuets,

bourrees,

movement

One has a
passepieds, gigues, etc.
called badinerie, and another a so-

(3) concertos for clavier

concertos for violin and
The
other solo instruments and orchestra.
concerto for two violins with its exquisitely
As
graceful slow movement is well known.
these works may prove useful to small orchestras,
we give a list of them and the requisite
orchestra

called

rejouissance

and orchestra

(4)

Brandenburg Concertos.
Strings, three oboes, bassoon, and two horns.
2. Soli trumpet, flute, oboe, and violin, accompanied
by two violins, viola, and continue.
violas, three violoncellos,
3. Three violins, three
1.

double bass, and cembalo.

39

BACH

40
4.
5.

Solo violin, accompanied by strings and continue.

Soli flute, violin, and cembalo, accompanied by

strings.
6.

Two

bass,

violas, two
and continue.

viols

The

da gamba,

violoncello, double

Overtures.

Strings, two oboes, bassoon, and cembalo.

Strings, one flute, and cembalo.
3. Strings, two oboes, three trumpets and drums.
4. Strings, three oboes, one bassoon, three trumpets,
1.

2.

and drums.

The

sinfonia in

is

for strings, three oboes,

one bassoon, and two horns.

The

passions, the

church cantatas, and the secular cantatas, all

have accompaniments for orchestra, the latter
having much greater importance than in the
works of his contemporary, Handel, and demandHis orchesing much greater skill in execution.
tration differs as much from Handel's as it does
from our modern methods, inasmuch as his
instruments have all real parts, and, excepting
brass

and drums, are kept constantly employed.

BACH AND HANDEL

same year, and both
Church, sometimes even
setting the same words, as in the Christmas
Oratorio and the " Messiah." Both were organ
players, and wrote for the organ as well as for
were born

BOTH
wrote

for

in the

the

orchestra and clavier.

Comparison, therefore,
inevitable, but it need not be to the disBoth were giants, alike
paragement of either.
in spirit, but diverse in its manifestation.
Both
are sublime, though in totally different ways.
Handel's is the sublimity of simplicity, Bach's of
Handel's harmonic material is
complexity.
usually of the simplest, although he could on
occasion hurl a harmonic thunderbolt.
Bach's
harmony is of the richest, and sometimes of the

seems

most modern kind. It speaks of all the ages

and to come. Handel's simplicity
and directness, combined with his great power,
procured him ready acceptance, while Bach's
complexity has had to wait 150 years for general
acceptance, and can hardly yet be said to have
Their paths in life were
fully attained it.
different.
Handel went to Italy and came to
past, present,

41

42

BACH

England ; Bach, like

stayed at home.

Beethoven and Brahms,

Although Bach was very desirous of making

the acquaintance of Handel, going over to Halle
for the purpose, these two great men never
met.

BACH AS CONTRAPUNTIST
be the greatest
and second to him is
His greatest predegenerally placed Mozart.

BACH
of

is

all

universally allowed to

contrapuntists,

cessors as contrapuntists were probably our own

Purcell, who excelled in the art of concealing

and Byrd, who may be called the Bach, and

minor mass the Bach mass, of the six
teenth century.
That the works of the former

art

his

were not unknown in Germany

fact that

in

the

PurcelFs toccata in

is proved by the
major is included

Bach Gesellschaft

edition (forty-second
the doubtful compositions.
The works of Byrd were well known on the
Continent in his own day, and are still known

year's issue)

among

and performed there.

To Bach no theme seemed
whether
tion, be

to

come

amiss,

for inversion, augmentation, or diminuit his own or

dictated by somebody

of countless chorals
the choral preludes,
his art of fugue, the musical offering, and his
innumerable fugues for organ and clavier. In
this respect he differs from Handel, whose canti
43

else, as witness his treatment

in the church cantatas and in

44

BACH

fermi usually consist of the first four notes of the

scale ascending and descending.
An eminent musician has stated, and probably
truly, that if John Sebastian Bach were a candidate for a musical degree at either of our Univer-

he would undoubtedly be plucked.

If
be so, we can only congratulate ourselves
and Bach that he was free to cultivate his genius
in his own way, unimpeded by the trammels of
the schoolmen.
It should be mentioned that the system of
sities,

this

musical education in vogue in Germany in those

days was, as in England, by apprenticeship, there
being no academies. Spitta, in his monumental
"
"
Life of Bach," gives the laws of the
College or
Union of Instrumental Musicians of the district
of Upper and Lower Saxony and other interested
places," wherein it is prescribed that the term of
"
to
apprenticeship shall be for five years, and
the end that the apprentice, when his time is out,
and he is thenceforth free, may be all the more
perfect, he shall, for the next three years before
he settles himself, serve as assistant to other

famous masters."
It cannot be denied that Germany was more
prolific in genius under the old system, nor that
the genius she has had since in Wagner and
Brahms did not emanate from academies. Hazlitt, in one of his essays, points out that all the
great schools of painting existed before the
establishment of academies, and his words seem
to hold true of the sister art of music.
Having spoken of Bach's marvellous contra-

BACH AS CONTRAPUNTIST

45

we must say a few words about his

In the polyphonic works, the melody
is divided between all the parts
that is to say,
each part is a melody, and to understand the
work it is necessary that the listener should be
able to follow all the concurrent melodies.
The
puntal

skill,

melody.

six

sonatas

phonic,
exquisite

or

abound

trios

in

for organ,

delightful

grace of the slow

although polyThe
melody.

movement

in

the

minor concerto for two violins is appreciated

by all who have heard it. The wailing plaintiveness of the adagio in the toccata in

major,

and of the fantasia in G minor (both for organ)

must appeal to everybody, even on a first hearing,
but more frequently the charm is not on the surface, and does not reveal itself until after many
hearings.

only remains to mention the sonatas for

It

and clavier, flute and clavier, viol da

clavier, sonatas for violin, in one of

violin

and

gamba
which

occurs the renowned chaconne, and suites for

The whole of the known works of
violoncello.
John Sebastian Bach, and a few doubtful ones,
have been issued by the Bach Gesellschaft of
Leipsic, and are now being reprinted by Messrs.
Breitkopf and Hiirtel in a cheaper form.

THE "MASS

IN B

MINOR"

a short analysis of this colossal

After an introductory adagio of
four bars, in which both voices and orchestra
take part, the theme of the Kyrie is announced
is

HERE
work

by

flute

and oboe in unison, accompanied by

and bassoon.

strings, organ,
ist

&

ist

2nd

Fl.

Flute

Oboe.

& 2nd

Ob.

is worked fugally, but chiefly episodically,

for twenty-five bars, when the tenor voices enter

This

with the same theme, followed by the

by

first

basses.

altos,

then

second trebles, and lastly by

Everyone will remark the fine effect of

trebles,

the theme when it occurs in the bass part.

The
voices develop the theme for forty-three bars,
46

THE "MASS

IN B

MINOR"

47

and then give place to an instrumental episode

of eight bars, after which they resume, the basses
starting the theme, followed by tenors, altos, first
second trebles, this section
occupying forty-six bars, making in all 126 bars,
or, with the introductory adagio, 130 bars.
The Christe Eleison is set as a duet for two
soprani, with accompaniment of first and second
trebles, and, lastly,

violins in unison, organ and string bass.

The
entry of the voices in thirds, repeated afterwards
in sixths, is in the Italian manner, but the imita-

tions

which follow the theme bring us back to

own church style.

Bach's

The

third Kyrie

is

for

chorus of four parts,

accompanied by strings, flutes, oboes, bassoons,

and organ, flutes and oboes doubling the violin
parts, and the bassoons reinforcing the bass vocal
part, which is frequently independent of the real
bass or continue.
The theme of this movement
is

as follows,

Ky

(the

ri

lei

Son, e

lower notes being the continuo or string

and organ
bars.

bass),

and

The theme

is

developed

of the Gloria

for fifty-nine
is

announced

BACH

48

by trumpets, accompanied
chestra
n.

by the whole

or-

Vivace.

After a symphony of twenty-four bars, the altos

enter with the theme, followed by tenors, and
The words "et in
then by the whole choir.
"
have the following theme
terra pax
:

ier

ra

pax

given out by voices, accompanied only by organ

and continue, answered first by strings, and then
by the wood wind, the same being afterwards
enlarged into the following fugal theme, announced

by

trebles

in

ter-ra pnx hom-i-m-bus bonae volun

and

ta

tis.

Some holding
"
et
trumpets which accompany iterations of the
notes in the

first

second

"

theme are a striking feature of this

Then follows an aria for
movement.
"
soprano 2 to the words Laudamus te," accompanied by strings, organ, and solo violin.
in

terra

brilliant

The

"

Gratias
four-part chorus to the words
end of
agimus tibi," which also appears at the
"
" Dona nobis
the Mass as the
pacem is taken

THE "MASS

IN B

"We

from the cantata

MINOR"

thank Thee,

49

God,"

the election of councillors in 1731.

Its theme is the old canto fermo so frequently
written

for

used by Handel, also by Byrd in his canon

" Non nobis."

Gra

tias

gimus

ti

bi.

be seen by our quotation, the movement

canon, and there is a good deal of
canonical imitation throughout.
This chorus,
like the Gloria and all the triumphant movements,

As

will

starts

in

for full orchestra of three trumpets, drums, flutes,

oboes, bassoons (in unison), strings, and organ.
The next movement is a duet for soprano and
tenor, with accompaniment of strings, organ, and
solo flute, in which again the Italian manner is
in evidence in passages of tenths and sixths.
striking peculiarity of the movement is that not
"
"
until the words
Domine Deus, Agnus Dei are
reached do the voices sing the same words
together, the tenor, commencing with the words
"
Domine Deus, rex ccelestis, Deus Pater omnipotens," is, after the interval of half a bar, accom"
Domine Fill
panied by the soprano singing,
is

unigenite

changeably

Jesu
this

Christi
is

altissime,"

and

inter-

maintained throughout the

BACH

50

We have already
part of the movement.
spoken of Bach as a religious teacher. Here he
seems to insist on the divinity of Christ. At the
"
the movewords " Qui tollis peccata mundi

first

ment merges
strings, flutes,

accompaniment of
and organ, the commencement of

which

canon.

in

is

"Qui sedes"

into chorus with

is

The

alto

following

aria

accompanied by

strings, organ,
bass air to the

The
solo oboe d'amore.
words "Quoniam tu solus sanctus" has the
remarkable accompaniment of horn, two bassoons,
organ, and continuo, and the effect of this com-

and

bination

is

extraordinarily rich.

Then

follows a

words " Cum sancto

spiritu," in which the whole orchestra is employed.
After thirty-six bars, in which chorus and orchestra
brilliant

chorus to

the

are constantly engaged, the following fugal subject

is announced by the tenors
:

ria

The beginning

De

of this

Pa

tris.

men.

theme resembles

that to

THE "MASS

MINOR"

IN B

51

"

the words " Let Zion's children

in the motet tor

double chorus, Sing to the Lord. The first movement of the Credo, forty-five bars long, is devoted
" Credo in unum
Deum," thus
solely to the words
insisting on the unity before speaking of the Trinity.
It is based on the old plain chant canto fermo,

De

urn.

given out by the tenors, and worked fugally, the

last entry of the basses being in augmentation
The accompanii.e., in notes of double length.
ment of this chorus is chiefly for organ and
continue, the violins, first and second, entering occasionally with iterations of the theme.
Then follows another chorus to the same words,
with the addition of "Patrem omnipotentum,
factorem coeli et terras, visibilium omnium et
invisibilium."
To this succeeds a duet for
" Et in unum
soprano and alto to the words

Dominum Jesum
strings,

know

Christum/'

oboes, and organ.

that

Bach

originally
"
"
et incarnatus est
in this

accompanied by

It

is

interesting to

included the words

movement, but after-

wards gave them greater importance by treating

them
this

in a separate chorus.

The

violins

accompany

chorus with the following caressing figure

_^

42

BACH

52

We now come
most

to the Crucifixus,

one of the

movements of the Mass.

It has
the following ground bass, twelve times repeated

striking

the same that Purcell used as a ground to

Dido's superb death-song in his " Dido and
Eneas," written in 1675, ten years before the
We have already seen that
birth of Bach.
PurcelFs works were early known in Germany,
and, comparing the Crucifixus with this song,
it is
difficult to avoid the conviction that it

The Crucifixus movewas known to Bach.

ment forms a portion of the first chorus of
the cantata Weeping, wailing! and the same
ground bass is used in the cantata, Jesu, der
du meine Freude. The Et Resurrexit is another
of the brilliant movements, and commences
with a triumphant outburst of the whole choir
and

orchestra, every voice

pating.

" Et

and instrument
"

partici-

Spiritum Sanctum is a bass solo with

accompaniment of oboes, organ, and continuo,
and is followed by a chorus in five parts to the
words " Confiteor in unum baptisma" in the
true ecclesiastical style, with accompaniment of
At bar 73 the basses
organ and continuo.
in

THE "MASS

MINOR"

IN B

53

the old plain chant associated with the

words, and are answered by the tenors singing
the same in augmentation.
Soon after this the
movement is suddenly arrested by an adagio to
the words " Et expecto resurrectionem mortuorum," in which occur some bold and solemn
modulations, the same words being afterwards
repeated in a triumphant strain accompanied by
sing

full

orchestra.

The

following Sanctus is perhaps the culIt commences with

minating point of the work.
another triumphant outburst of the whole choir

and

the

orchestra,

the

of

nobility

movement

Note the majesty of the

being indescribable.
following passage sung by the basses, while
the other voices sustain chords to the word
"Sanctus":

Sane- tus

Dom

i -

Sane- tus

Dom

- i -

Sanc-lus

Dom

Sanc-tus

De

nus

nus

De

nus

De

-'

Dom

nus.

us

Sa

us

Sa

us

Sa

ba- oth,

ba-oth,

ba- oth,

BACH

54

This colossal movement (colossal in grandeur,

not in length) merges into the " Pleni sunt coeli
et terra," another brilliant fugue.
The Osamna
is an excerpt from a patriotic cantata composed
to celebrate the election of the Elector of Saxony
as King of Poland, but as in that work it is a
song of thanksgiving, there is no incongruity in
its transference to the more religious work.
The
Benedictus is a tenor solo with accompaniment of organ, continue, and violin solo, and
the Agnus Dei a rearrangement of the alto air
"
"
in the Ascension Day Oratorio,
Bleibe doch

and

is

accompanied by
and organ.

continue,

already said,

is

and

2 in unison,

The Dona

as

violins

Nobis,
a repetition of the Gratias.

LIST OF

WORKS

CHURCH WORKS
in

MASSFour

minor.

short

Kyrie and Gloria

Lutheran Church.)

The
John,

masses
(the

consisting only of
portions used in the

Passions according to

and

St.

Luke

(the

St.

latter

Matthew,
of

St.

doubtful

authenticity).

Christmas Oratorio.
Magnificat (Latin).
Easter Oratorio
Ascension Oratorio

these have only the dimensions of church cantatas.

Church cantatas. About 200.
Motets, eight, two of doubtful authenticity.

Sacred songs and

arias.

Chorales.

Funeral

Ode on

the Death of

Queen

Chris-

tiana Eberhardine.

SECULAR CANTATAS

Amore traditore. For bass.

Angenehmes Wiederau. Drama per musica.
55

BACH

56

Auf, schmetternde Tone.

tage Auguste III.

Drama zum Namens-

Geschwinde ihr wirbelnden Winde.

between Phoebus and Pan.

The

strife

'

Hochsterwiinschtes Freudenfest.
Ich bin in mir vergniigt.
For soprano.
The Choice of Hercules.
Mer hahn en neue Oberkeet. Soprano and
Bass.

Mit Gnaden bekrone der Himmel die Zeiten.

O
O

angenehme Melodei.
holder Tag.
Wedding

cantata.
so che sia dolore.
Soprano.
Preise dein Gliick.
Congratulation cantata to

Non

August

III.

Schleicht, spielende Wellen.

for

August

Birthday cantata

III.

Schweigt,

stille.

Coffe cantata.

Schwingt freudig euch empor.

Drama for the birthday of
Tonet, ihr Pauken
August III.
Drama for a UniverVereinigte Zwietracht.
!

sity festival.

Was mir behagt. For the birthday of the

Herzog Christian of Sachsen-Weissenfels.
Weichet nur, betriibte Schatten. Soprano.
Zerreisset, Zersprenget.

ORCHESTRAL WORKS
Four overtures

(suites).

Five concertos.
Brandenburg.
Nine concertos for one clavier.

LIST OF
Three concertos

for

WORKS

two

57

claviers.

Two

concertos for three claviers.

One concerto for four claviers.
Four concertos for one violin.
One concerto for two violins.

CHAMBER MUSIC
Six sonatas for violin.

Eight sonatas for clavier and

for clavier

and

violin,

and fugue

violin.

Six sonatas for clavier and flute.

Six suites for violoncello alone.

Three sonatas for clavier and viol da gamba.

Sonata for two violins and clavier.
Sonata for flute, violin, and clavier.
Sonata for flute, violin, and clavier, from the
Musical Offering.

ORGAN WORKS
Passacaglia in C minor.
Six sonatas for two manuals and pedal.
Fantasias in C minor, C major, B minor,

two

in

major.
Pastorale in F major.
minor.
Canzona in
Allabreve in
major.

D
D

Toccata
Toccata
Toccata
Toccata
Toccata

and
and
and
and
and

fugue
fugue
fugue
fugue
fugue

in
in
in

in
in

D
D
C
E

major.
minor.
dorian.

major.
major.

and

BACH

58

Fantasia and fugue in G

Fantasia and fugue in C
Fantasia and fugue in A
Twenty-six preludes and
Prelude in C major.
Prelude in
major.
Prelude in
minor.
Fugue in C minor.
Fugue in C minor.

minor.
minor.
minor.
fugues.

G
A

Fugue
Fugue
Fugue
Fugue

in

G
G
G

major.
major.
in
minor.
in B minor.
Trio in
minor.
in

Orgelbiichlein.
chorals.

Forty-six

Variations on "Christ der

Tag."

short

Du

preludes

on

bist der helle

"
Variations on
Gott, du frommer Gott."
Variations on "Sei gegriisset Jesu giitig."'
Variations in canon form on " Vom Himmel
hoch da komm ich her."
Sixty-three larger choral preludes.

CLAVIER WORKS
Six partitas.
Clavieriibung, Part I.
Italian concerto.
Clavieriibung, Part II.
Duets; also choral
Clavieriibung, Part III.

preludes evidently intended for organ.

Goldberg Variations.
Clavieriibung, Part IV.
The Well-tempered Clavichord. Two books.
Six English suites.

LIST OF

WORKS

59

Six French suites.

Chromatic fantasia and fugue.

Fifteen two-part inventions.
Fifteen three-part sinfonias.

in F sharp minor, C minor,

minor,
minor, G major.
Fantasia and fugue in A minor.
Capriccio sopra la lontananza del suo fratello

Toccatas

dilettissimo.

Six

little

preludes.

Toccata and fugue in G minor.

Other preludes and fugues.
IN SCORE

The Musical Offering.

The Art of Fugue.

SOME BOOKS ON BACH

"

Life of Bach," 3 vols. Novello and Co.

" Life
of Bach."
ABDY WILLIAMS. " Life of Bach." Dent and Co.
HILGENFELD. "

SPITTA.

FORKEL.

Life

"

MIZLER.
part

and Works

Musikalische

of Bach."

Bibliothek,"

MOSEWIUS.

"J. S. Bach in seinen

Cantaten und Choral-Gesangen."

BITTER.

"

J. S.

Bach,"

iv.,

Kirchen-

2 vols.

"Life of Bach"

POOLE.

vol.

i.

in

Hueffer's

"The

Great Musicians."
" Life of

SEDLEY TAYLOR.
his

Work

as a

Bach in Relation to
Church Musician and Com-

poser."

TOVEY.

"Analysis of the Goldberg Variations."

Joseph Williams.

WINTERFELD.

"

Der

evangelische

Kirchenge-

sang."

GROVE.

Dictionary of Music and Musicians.

BILLING

AND

SONS, LTD., PRINTERS, GUII.DFORD

OPINIONS OF THE PRESS

Miniature Series of Musicians.

Bell's
"

An

excellent series."

Pall Mall Gazette.

" Messrs. Bell and Sons have made themselves

a
great reputation for the production of

thoroughly
popular and understandable books on art and artists.
I
therefore welcome with confidence their new
'Miniature Series of Musicians.' which are exactly

calculated to furnish those of

my

readers

who

are

music with reliable biographies and

appreciations of the great composers." T.P.'s Weekly.

interested in

'

'

We

Bell's

'

have before us several volumes of Messrs.

Miniature Series of Musicians,' which are

neatly produced, and likely to lead on to further

study, while they reach a level of accuracy which is

unusual in publications which aim at being small and

'

popular.

'

A thenaum.

"Bell's 'Miniature Series of Musicians' are well

as a handy and useful

known and highly appreciated

series of concise

and

'

'

critical biographies.

St.

James's

Gazette.

"

On reading Professor Prout's little work on Mozart,

and Mr.

J. S.

Shedlock's on Beethoven, one

to believe that they will

is impelled
supply something of a want.

students
is, no doubt, a class of readers and
who, whilst wishing for a complete survey of these
composers' lives, apt methods, and accomplishments,

There

OPINIONS OF THE PRESS

require it to be given in as short and attractive a form
as possible.
To this class these small monographs
will appeal.

They

are both

by authoritative

writers,

and, besides the above features, each includes a list

of the composer's principal works, information as to

other existing

literature,

autographical

facsimiles,

portraits and other illustrations.

Especially
valuable are the chapters devoted to Beethoven's and

with

Mozart's art-work."

Musical News.

"Should prove a boon

to music-lovers."

Sussex

Daily News.

"These

volumes

will certainly appeal to

a good deal of information in
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