Sebastian Bach

that the school needed a Cantor, and not a Capellmeister, although he must understand music too. Such was the public recognition of Leipzig's greatest man. His widow was suffered to live

d, in which Bach had been laid to rest, was rooted up and made i

ss performed, more or less frequently; but cantatas and motets were required for the church service, and it was easier to fall back upon the stores of music he had left, than to buy or transcribe new pieces. How little

ons were admired. The visit of Mozart, in 1789, of which I have before spoken, did something to revive the interest in Bach's music; but the process was a slow one. His works became known among an increasing number of scattered admirers; then they came to be partially published; but it was not until 1842 that he had a monument on the Promenad

man. He had a strong self-dependence, which was reflected in his sense of duty, the consistency, the uprightness of his life, but which was liable to exaggeration in self-will, even obstinacy. Partly this was owing to his irritable temperament, the other side of his nature, born of an acute sensibility, which might reveal itself either so or more often in the tender charities of his family life. These double tendencies, the fine and the strong

of recognition of his later years, and in his blindness. But the likeness goes deeper into their work. Each is in his craft the most learned of artists; each is r

necessary to observe that neither produced his best work in the same fields as the other. Bach wrote nothing more than distantly akin to the Oratorio; Handel attempted nothing great in Masses or in Passion Music. Wherever they do enter into comparison, only ignorance can excuse the claim of superiority often made for Handel. So it is remarkable when they are set side by side as organists. With his prodigious brilliancy Handel was untrue to the nature of the organ; he made it a concert-

later years was the viola, because it placed him, "as it were, in the middle of the harmony, whence he could best hear and enjoy it, on both sides;"78 and, when he was in the vein, he would extemporize an additional part to a trio or whatever was being played. In the same way he would at sight combine scores on the clavichord with astonishing fluency. That he cou

s recorded to have done sometimes himself; in other words, to write new parts over it in counterpoint and imitation. The necessity for some such treatment is argued from the decay, in modern times, of the art of expanding even the common harmonies of a figured bass. The real reason against it is that we may be thus obscuring the relief of light and shade which Bach designed to produce by leaving some pieces barely accompanied, as in contrast to the elaborate orchestration of others. This is more weighty than the argument drawn from the absence of any authoritative example of it; as for instance, that it is not to be found in some exercises in figured bass by a pupil which Bach corrected. It is obvious to answer that a master would probably be content with accuracy in his

tury the latter regularly outnumbered the former; and Bach's own scheme for the organisation of the music at S. Thomas's desiderated only twelve singers to a band of eighteen, exclusive of the organ-the organ, be it remembered, being entrusted by Bach with a very important part. Such a distribution must have given the performances which he conducted a different colour fro

had never heard one played. The first serious steps to promote the knowledge of Bach in England were taken by a company of three enthusiastic worshippers at his shrine; to one of whom is due the honour of the first publication anywhere of the Wohltemperirte Clavier. It was brought out in London by A. F. K. Kollman in 1799. The impulse thus given was carried on by two leading music

eized upon independently abroad, that of his "characteristic beauties" "air" was "one of the chief and most striking."82 No doubt his wonderful playing of the organ did something to make Bach known in England; but it was long before he was really accepted. The movement, in fact, for a time subsided; it was roused again into life by the energetic work of Mendelssohn, who declared it was high time that the "immortal master, who is on no one point inferior to any master, and in many points superior to all, should no longer be forgotten."

Matthew Passion was produced at Westminster Abbey, and since that time, there, or in S. Paul's Cathedral, the Passion Music and the Christmas Oratorio have taken their constant position as the special services of Holy Week and the new year. Other churches in London, notably S. Anne's, So

g

1

USICIANS IN T

distinguished

T B

1

tha

ch

──┴───

i

ge 130)

1

Spiel

sta

────┬───

ha

4-1

n Mu

Orga

fu

IST

3-1

Musi

urt

sta

nri

5-1

gan

sta

ha

4-1

n Mu

Orga

fu

─────┼─────

ha

ist

0-1

io

urt

ach.

idi

5-1

io

fu

Jo

ola

3-1

a-da-

fu

─┐ ┌──

ha

ko

8-1

T

ici

ach.

ist

3-1

nto

ani

en.

nha

6-1

gan

ena

ha

ns

2-1

llmei

ar.

ist

5-p

7

T

ici

fu

IST

3-1

Musi

urt

sta

──────┴──────

e

ist

2-1

nto

nfurt.

ROS

5-1

io

ach.

ist

5-1

io

sta

───┼───

ha

ent

9-1

T

ici

nfurt.

ist

1-1

gan

rd

Jo

KO

2-1

ut-

holm.

AST

5-1

rec

ice

ig. J

ns

3-1

gan

sta

───┬─────────┬

ha

re

5-1

gan

. Jo

l

5-1

nto

nfurt

edr

1

nto

?dt.

nha

0-1

gan

uf. J

ist

1

nto

uf. J

nri

1

nto

ngen.

dr

1

gan

rd

HA

AST

5-1

rec

ice

ip

──────┼─────

lh

ede

0-1

gan

Carl P

an

4-1

llmei

in.

tfr

nha

5-1

gan

ausen

ist

5-1

ou

ian)

ist

edr

2-1

ertme

lh

3-1

t Mus

rl

nri

5-1

gan

sta

───┼──

ha

ist

2-1

gan

ach,

ch

8-1

gan

en.

nth

3-1

gan

sta

─────────┬

HA

ola

9-1

gan

. JO

ist

1

c Mas

urt

nd. J

edr

1

gan

ausen.

ch

nBuil

ro

S B

1

umab

of V

┴────

nde

9-1

ko

5-1

nto

Jonas

er

icia

al

───────

ha

dw

7-1

l-dire

gen. N

hr

gan

sheim.

hae

3-1

ha

ist

3-1

c Mas

ll

────

mu

to

3-1

t Org

en. Go

edr

4-1

t Org

nin

ha

il

1

t Org

nin

TATAS IN PRESUMED OR

umbers following the titles are those of the edition published by the Bach-Gesellschaft; t

meine Seele (15)

le soll Gott

fe rufe ich: Psa

ie allerbeste Zeit (1

nig (71) (Municipal

denket an uns

Herr, verlang

Kind geboren Chris

egen und Schnee (18

mein Erl?ser lebt E

Heiden Heiland (61)

l Bekümmerniss (21

sei willkommen86 P

, die Erde jubiliret

ze der ewigen Liebe8

e Todesstunde 16th

, jetzt da ich 20t

das Seine 23rd af

ie Wege (132) 4

Glaubensbahn Sunda

ang, ach lange 2nd a

von Gott geboren

et, der wird mein Wo

t, seid bereit (70

Mund und That

mit dir Candlemas or

bst erh?ht (47) 17t

e gewisslich wahr

sich die Zw?lfe (22)

Gott und Davids

ollen essen (75) 1s

erz?hlen (76) 2n

rbt Gemüte (24) 4t

o Seele, nicht 7t

h von Christo nennet

salem (119) (Munici

sterwünschte

l at Stoermthal

?tzet diesen Tag (6

schienen (40) 2nd

eine Liebe (64) 3r

s Jahr zu Ende (28) Sunda

rrn ein neues Lied

ber Gott. Sunday

en aus Saba (6

esus ist verloren 1s

l?ft (81) 4th a

eit im neuen Bund

g in Todesbanden

, Sorgen, Zagen (12)

ihr Lieder Wh

Freudenlicht Whi

st und Wasserbad T

deine Gottesfurcht

meine Seele, No. I. (

loben wir (16) New

Gottes Willen (72) 3

u willt (73) 3rd

ein ist, und gehe

nte Flattergeist

iss Jesum Christ (67

sra?ls (104) 2n

t du hin 4th

ch sage euch (86)

n den' Bann thun (44) S

u Donnerwort (20)

rühmet GottesLiebe

ich, Gott (136) 8t

echnung 9th af

e nicht in's Ge

und sehet (46) 10t

einen Herren lieben (77

ann werd' ich sterben (

ich ein Streit (19

nicht (Mourning at Pom

salem Glück (Munici

trau ich nicht (52) 23r

tehe doch der

e doch, gewünsc

Seele rühmt

ieben Gott (93) 5th

bei dich (120) (Mun

tt in der H?he91 Ch

ie dein Name New

ehen hinauf gen Jeru

ein Herz East

einem Fuss im Grabe 3

Beherrscher aller

rg (80) (Reformation Fe

eisch und Blut92 Wh

g euch empor (36) 1

Zuversicht 21st af

t und getauft wird

hten muss das Li

Heil (9) 6th af

gen sehen (102) 10t

wird verwirret (35)

ir, Gott (29) (Muni

ts Gesundes (25) 14

ahe mir mein Ende (27)

t Freuden vom Si

ber Herr (109) 21st

ensch (55) 22nd

t uns die Stimme (140

genug (82) Can

ergnügt (84)

in getreuer Hirt (11

den H?chsten W

in allen Landen (51

in mein Herze haben

Kreuzstab (56) 19

suche (49) 20th

ist wolgetan, No I. (98)

der Herr, mein Gott

r, Herr Jesu Christ

viel Fischer (88) 5

e Ruh 6th afte

alles auf dich 7t

den m?chtigen K?nig (13

ist mein Leben (95)

us dir machen (89)

Donnerwort (60) 24t

ches Herzeleid (58) Sun

hut, das ist wohlg

ter Tri

en meinen Tha

t alle Gott (im

inem Reichen (11) (Orat

dich betrüben (107) 7t

nd Ehr' dem h?chst

das ist wohlgethan,

tzig und versagt Din

i voll Lachens (110)

urch viel Trübsal (J

ungrigen dein Brod'

sagt, Mensch (45) 8th

, meine Seele, No. II

icht mit uns (14) 4

uch, ihr Herzen (6

das seinen Jesum93 (

n guter Hirt (85)

weinen (103) 3rd

, dass ich hingehe (1

hr nichts gebeten (8

auf mit Jauchzen (

fahrt allein (128) Ascens

in den Bann tun Sunday

et, der wird mein Wo

tt die Welt geliebt

eine Schafe mit Nam

nach der Welt (94)

liehen hin (5) 19

t Sonn und Schild (79)

ch in dir (133) 3r

ei gepreiset (41)

bei uns (6) E

t (17) 14th after T

ist, mein's Lebe

sere Zuversicht94

rl?ste Schaar (30) S

o Ursprung der Liebe (

err Jesu Christ (116)

den Heiland (62) 1st Su

t du, Jesu Christ (

sollen loben schon

ist der Man

mein Jesus kommt 3

Kindelein (122) Sund

er Immanuel (1

, mein Verlangen (32)

Jesum lass ich

meine Tr?nen (13) 2

, wie manches H

das g'scheh' allzeit (111)

nd Freud ich fahr da

Gottes Herz und Si

, wahr' Mensch und Gott

esselbigen Sabbaths (42

Himmel sieh darein (

ücke dich, o l

Herr zum Jordan kam

r, bei deinem Wort (12

hebet den Herren (10)

du dich, mein Herz (138)

as Heil and die Kra

tt, dich loben a

sten, seid getrost (114

r ein'ge Gottessohn (96

der Mensch (48) 19

ot schrei ich zu dir (3

ein Geist, bereit (115

, ach wie nichtig (26

in schrecklich Ende (9

u Zion (Municipal) c

ch armen Sünder (135

err nicht bei uns h?

ns, Herr (101) 1

t, du h?chstes Gut (11

, Herr Jesu Christ (3

du meine Seele (78)

ich auf seinen Gott (1

htet der Morgenste

TNO

print are given by S

du geigen Ha

h?rst, so m

eichwohl na

n hübschen Han

hirty-seven musicians, signalises one drunkard, Johann Fried

itle associated to his great-uncle by

ry began on the 25th of March, place his birthday in 1684. That this should create a misconception in the minds of foreign writers was

sellschaft,

ue in the same key, printed in Peters' collected editi

rly fugues as (1) incidental, for a single emphasis, (2) in cadences, and (

9) and a fantasia in G (v. 4. 11). Another fantasia and a fugue, both in G and presumably of the same period, remain in M

inor seem to belong to the Arnstadt period, if indeed this latter does not date as far back as Lueneburg. It appears at No

g, has in one copy the interesting heading, In honorem Joh. Christo

st been burnt to the ground in a great fire that had laid waste much of the town, and they were destitute even of the means of signing their names, h?tten keine

e, in somewhat sesquipedalian La

an, Inst. Orat. 1. xi

J. S. Bach, pp. 30 f.

organ have already been e

n is contained in Alfred Doerffel's Themat

we may see from the complaints made aga

f Legrenzi, as a motive in one

er, without stating its derivation, to a candida

he G minor violin-sonata, and p

o a fragmentary Fantasia in C m

August Pfeiffer's Anti-Calvinismus. He certainly possessed it at Coethen, as

Bach's, born in November, 1718, was christened after the Prince and one of hi

old post at Muehlhausen. He afterwards studied

tta, i.

A minor, remains

is inclined also to accept another one, at present unpubli

e detached minuets pri

wo capriccios have already

avichord of Vivaldi's violin concertos (217) are of singular interest, as evidence of Bach's view of the

een already included under

scribed for the pianoforte by Joachim Raff, a

ndless varieties of the Musikalische Opfer, but its position t

rkel, p

lived to draw out the stops for Mozart when he mad

ol. ii

afterwards gave to it, changing the soprano into a bass solo. Possibly Wer nur den lieben Gott l?sst walten (93) had a like origin: see Spitta, ii. 274 f., 302 f., 269 ff. A secula

he expression occurs in his treatise on Tho

, xi. (2) p. 139. The music was used ag

. 73; used again for

G. xi. (

two following exis

t was revived for a royal

. below

words recall entirely the old English song, Tobacco's but an Indian weed, of Tom d'Urfey's Pills to Purge Melancholy, 1699, or Wither's delicious verses, with the refrain Thus think

eht's nicht be

er Stopfer n

en Finger zu

h, wenn ich m

e Kohle so

ag erst die

ished by S. W. Dehn in two editions; the s

blished by the Bach-Gesellschaft, xi. (2) p. 75; and the third had already been used for

ms to belong to some court festival, and exists

S. at

into the church cantata,

e-written as chur

published in the Bach-G

hich two remain. One, Non sà che sia dolore, lies in MS. at Berlin; the o

at Leipzig by Breitkopf and Haertel: a

eth volume, first division

. ii. pp

. ii. pp

ed with all the scenic accessories of the opera, just as

from S. Matthew xxvi. 75, xxvii. 51, 52, to the distinct invigo

eface to Novello's editi

of the Passion music written for 1725, of which ind

m it had been used by Heinrich Schuetz in his Seven Words. Another method had been to give Chr

of later composition than the S. Matthew Passion; those in G and A apparently dating from about 1737. The four Masses are printed in the eig

and dedicated to the king on the 27th of July, 1733; the Credo may have been composed for use a

the Gratias agimus. The subject is an old church one. Bach had used it before in the great chorus of his Rathswahl-Cantate of 1731, Wir danken dir, Gott (No.

orkel,

e above

music, it became more liberal in the arrangements, and especially the financial arr

but this is confusing, for the works were never intended for the har

he adds, "surely bec

er prelude to the same fugue at p. 44. The relation of these essays to their inimitable successor is full of suggest

reat organ-fugues, as that in G which d

57 f, c

ars in the fourteenth volume. Kroll has also brought out a reprint of the text in Peters' cheap series, by far the most conve

y Dr. Rust in the twenty-fifth volume of the Bach-Gesellschaft (first division): its study s

ere the five parts of the Clavier-Uebung containing clavichord and organ composi

kel touchingly says, "The expression of pious resignation, and devotion in it, have always affected me whenever I have played it; so that I can hardly say which I wo

orkel,

orkel,

mpare W. S. Rockstro's article, Orchestration,

" "our grand Hero," "our Sacred Musician," "our Apollo," "this marvellous Man." At length Wesley's rhetoric fails, and his idol becomes "The Man (which expression I pre

and a successor of Bach at the Thomasschule, admired Bach's counte

350; 369-372; 438-461; 480-507; 525-565; 790 f.; 797-801; 803-814; vol. ii. 181-306; 545-569; 774-790; 791-8

Dr. Spitta in the chantry at Langula

e Bach-Gesellschaf

J. P. Schmidt'

nted in

en as No. 80

eipzig, but discarded in favour of the preceding number. Perh

I.-LXXIII. do not admit o

nto a marriage cantata (No. XCIII.) printe

Coethen serenade: se

a secular cantata: s

e Bach-Gesellschaf

ht following numbers

E

ND

LBERT AND RIV

USE, CLERKENW