Book vi., No. 24--“Gott der Vater wohn’ uns bei.

Bach stood godfather to Walther’s eldest son, and a friendly rivalry in composition arose between them. Later on, however, some unfortunate disagreement seems to have arisen between the friends, for Walther, in his Lexicon, omits the mention of events and compositions during the nine years’ period at Weimar, which must have been well known to him.

[Sidenote: Sight-Reading Poser]

Forkel tells the following anecdote:--Bach, while still at Weimar, had advanced so far in clavier playing that he said to a friend that he believed he could play anything at first sight. His friend invited him to breakfast in a week’s time, and for a joke placed on the harpsichord a newly composed piece which looked simple enough. While the friend was preparing breakfast in the next room, Bach instinctively began playing what he saw on the harpsichord, but was not able to advance very far. He tried several times, but always with the same result. On joining his friend, he laughingly acknowledged that no one could play everything at first sight, it was not possible.

Amongst other things Bach began to study Italian instrumental music at Weimar, especially with regard to the forms then in use, the concerto, the suite and the sonata. To this period may therefore perhaps be assigned some of the concertos for clavecin and other instruments, the suites for violin, etc., and the sonatas for harpsichord and violin.

The sonata of this date was usually performed by two violins and a violoncello, with a figured bass part for a harpsichord or organ (_e.g._ the twelve sonatas of Purcell in Italian style, and the four sets of twelve sonatas each by Corelli op. 1, 2, 3, 4). These sonatas had nothing in common with the modern sonata as begun by Emanuel Bach and perfected by Haydn, Mozart, and Beethoven.

Bach has left some examples in the sonatas for two violins and clavier (Peters, 237); for flute, violin, and clavier (Peters, 237): by clavier must be understood here a part for figured bass, which would be played by violincello or double bass and harpsichord. Besides this, he adopted the form for other combinations, such as violin and figured bass, flute and figured bass (Peters, 232 to 235) viola da gamba and figured bass, etc. (Peters, 239).

Bach and Walther had plenty of encouragement in this kind of music, since the Duke’s nephew Joh. Ernst (who unfortunately died young) had considerable skill on the violin, and also was a fair composer. They vied with one another in arranging Italian concertos for the harpsichord and organ. Sixteen of Vivaldi’s violin concertos were arranged by Bach for the harpsichord (Peters, 217) and three for the organ (Peters, 247).[28] Walther arranged thirteen for organ from the works of Torelli, Taglietti, Albinoni, etc., and they are preserved in MS. in the Royal Library at Berlin. The arranging of these concertos led Bach to the use of the new form for clavier compositions, of which the well-known Italian concerto is an example. Is it possible that the friendly rivalry was the commencement of the estrangement with Walther?

[Sidenote: _Artistic journeys_]

Bach was in the habit of making expeditions to try different organs, or for other musical purposes, and his reputation began to spread through North and Central Germany. He invented a peculiar form of fingering for keyboard instruments in order to increase his facility, and his use of the pedal rose to unheard-of heights. He also became an expert in questions of organ construction, and was often called upon to give his opinion in this respect. He was very ingenious in his use of the stops and of artistic combinations, but, unfortunately, with one small exception, none of his registering has come down to us. He was never in command of a really fine instrument, and the above exception, which consists of the chorale “Ein feste Burg,” Peters, vol. vi., No. 22, seems to have been written for the newly arranged organ at Mühlhausen. It is for three manuals--the left hand has to play on a “fagott,” and over the right hand is written “sesquialtera.” These directions are omitted in Peters’ edition, but are given in Walther’s collection at Königsberg.

[Sidenote: Halle Incident]

In 1713 he went to Halle, where a large organ of sixty-three stops had recently been placed in the Liebfrauenkirche. Here he won laurels by his magnificent playing, and, since the post was vacant through the death of F. W. Zachau, he offered his services to the Council as organist. He remained long enough to go through the prescribed test of composing and conducting a cantata, after which he returned to Weimar in haste to fulfil his engagements. The authorities of the church wrote to him stating the salary and conditions, but Bach, considering that the payment was inadequate to the amount of work, returned the agreement they had sent him to sign. The Halle authorities then said that Bach had only opened the negotiations in order to obtain an increase of salary at Weimar. This naturally annoyed him, and drew from him a firm and dignified answer to the affront.

In 1714 Bach went to Cassel to try an organ, which had been recently renovated. His extraordinary execution, especially on the pedals, so astonished the Crown Prince Friedrich (afterwards King of Sweden) that he drew a valuable ring from his finger and presented it to him.

On the first Sunday in Advent 1714 he paid his first visit to Leipsic, where he conducted his cantata, “Nun Komm, der Heiden Heiland,” and made the acquaintance of Kuhnau, Cantor of the Thomas Church, whose works he much admired.

[Sidenote: _Order of church service_]

The autograph score of this cantata is still in existence, and on it is noted, in Bach’s own hand, the order of the service in just the same way as any modern organist, who was taking a service in a strange church, would note it. The order on this occasion was a prelude on the organ, then a motet, then the kyrie, which was preceded by a prelude on the organ. Then came the epistle, the litany (which was sung), and the prelude to the chorale. Then the gospel, and after this the cantata, which was also preceded by a prelude. To this followed the sermon, then the Communion, during which he had to extemporise another prelude to a chorale, and the service concluded with a voluntary on the organ.

The organ solo portions of the service were all called “Preludes”; and it does not seem that a concluding “voluntary” was usual. The prelude was played at the beginning of the service, and before the chorales. With us it is customary to simply play through the tune of a hymn or chant, in order to let the congregation know what they are to sing, and to give them time to find their places in the books. In Germany an artistic and somewhat elaborate prelude, in which the organist is expected to show his skill, precedes each chorale.

A hymn was sung between the epistle and gospel, in the place of the “Gradual” of the Roman service, and here the most elaborate prelude was introduced, based on the melody of the hymn.

Before the “church music,” which takes the place of our anthem, an extempore prelude was played in order to allow the instruments to be tuned. This was in the form of a fantasia, in which the performer had to remain longest in the key which most coincided with the strings to be tuned. The prelude had to stop on a sign from the conductor that the instrumentalists were ready. It was supposed to have some connection with the piece that was to follow, but the unhappy effusions of incompetent organists led to occasional remonstrance from the Council.

[Sidenote: _Examination of a new organ_]

In 1716 the Council of the Liebfrauenkirche at Halle invited him to examine their organ, which was now completed. He answered their invitation very politely, and with Kuhnau of Leipsic and Ch. F. Rolle of Quedlinburg began the examination in the second week after Easter. The organ was built by Cuncius of Halberstadt, and the three examiners reported that he had carried out the work (which had occupied three years) in the most satisfactory way possible, the only part requiring alteration being the bellows. After many difficulties, owing to the smallness of the salary, the authorities eventually found an efficient organist in G. Kirchoff, a pupil of Zachau and a man of the same age as Bach.

About 1716 the friend of Bach’s youth, G. Erdmann, visited him. He had held a legal post under the Russian government since 1713.

[Sidenote: _Contest with Marchand_]

In the autumn of 1717 Bach made a journey to Dresden to hear the performances at the theatre, which was supported by Friedrich August I. There happened to be visiting Dresden a famous French organist and harpsichord player Jean Louis Marchand, organist at Versailles, and of several churches at Paris. He enjoyed an immense reputation as player and composer, though his compositions have not borne the test of time, and are now entirely forgotten. Vain, arrogant, and conceited, the spoilt idol of French society, he came to Dresden, where his playing became much in favour at the Court and he was given two medals. Soon after Bach’s arrival there arose a discussion among the artists as to which was the greater performer. The Court musicians took the part of Marchand, while the members of the orchestra, who were mostly Germans, preferred Bach. The matter ended in Bach’s being persuaded by his friends to write to Marchand, offering to go through any musical test that Marchand might suggest, on condition that he would undergo the same test.

[Sidenote: A Victory]

The challenge was accepted; a date was fixed for a meeting at the house of Field Marshal von Flemming,[29] a jury of musicians was chosen, and a brilliant company assembled. Bach and the jury arrived punctually, but Marchand did not appear. After a time he was sent for, when it was found that he had departed by express coach that morning from Dresden, certain, no doubt, of being defeated. Marchand seems to have heard Bach privately beforehand; while Bach was already familiar with Marchand’s works, and admired them much. Spitta[30] considers that they are not inferior to those of Couperin in variety and grace, but are rather thin for the more solid German taste. The news of Bach’s victory soon spread far and wide, and did much to enhance his already great reputation. He, however, never seems to have obtained any recognition from the Court at Dresden.

FOOTNOTES:

[23] No. 27 in the Genealogical List.

[24] This is, according to the Bachgesellschaft, the only cantata published in Bach’s life-time. Its title is “Gott ist mein König,” No. 71 of the Bachgesellschaft edition.

[25] The thaler = 3 shillings. Bitter says 200 thalers was offered for the work and 50 thalers to be allowed for the small organ.

[26] The organ in the Nicolai Church at Leipsic had in 1885 ten bellows, requiring four men to manipulate them.

[27] This is pointed out by G. H. Lewes in his “Life of Goethe,” vol. i. p. 314.

[28] Vivaldi takes an important place as one of those who studied and brought forward form. He wrote concertos for one, two, three and four solo violins, improved the orchestra, and invented new means of expression. He died in 1743 at Venice. See Spitta, vol. i. p. 411.

[29] According to Bitter.

[30] Vol. i. p. 585.