Part 27

But the period of Bach's activity in the line of chamber music properly began after he left Weimar in response to an invitation to become capellmeister at the court of Prince Leopold of Anhalt-Cöthen. It was probably on account of his not having been appointed to the same office in Weimar, after the death of the venerable Samuel Drese, a preferment which he had every reason to expect, that he gave up his post as organist in the town. The love and protection always bestowed by the duke upon old and trusty servants prevailed in this instance over his interest in art, for he allowed Drese's very incompetent son to succeed his father. The Prince of Cöthen was allied to the ducal family of Weimar through the marriage of his sister to the heir apparent of the reigning house, and on the occasion of his visit at the time of the wedding festivities, it is very likely that Bach may have attracted his attention. He was just the man to appreciate the importance of so great a musician. Clear-sighted and enthusiastic, unmarried and still in the spring-time of life, he was endowed with an unbiased judgment and the ability to rule, as well as with an unusual talent for music. He played several instruments, was an excellent bass singer, and Bach said of him in after years that he not only loved music but understood it. And it was precisely chamber music that was almost exclusively cultivated in Cöthen. The province professed the Calvinistic faith and music therefore played an entirely subordinate rôle in ecclesiastical and social life. Bach had no official connection with the church organs in the place. The court never possessed an opera and seems to have been only sparingly provided with singers. Bach's labors were therefore limited to the concerts held at the castle, in which the prince himself took part, and which were especially signalized by the musician's own appearance as performer and composer. There was in Cöthen no opportunity for stepping before the public, and it testifies to the genuineness of Bach's nature and his devotion to instrumental art that he could spend with enjoyment six of the best years of his life in this position, so devoid of all external attraction. During this time he wrote the greater part of his chamber works, including the first part of the "Wohltemperirte Clavier," the "Inventionen und Sinfonien," the sonatas and suites for violin and violoncello without accompaniment, and also with the clavier; finally, the six great concertos dedicated to Margrave Christian of Brandenburg. The prince manifested the warmest attachment for Bach, treated him as a friend in every way, and at last could so little dispense with his society that the two undertook frequent journeys together, in the course of which they twice made a prolonged stay at Carlsbad. Bach meantime did not relinquish his independent professional tours and was often summoned in different directions for the inspection of organs. In December, 1717, he tested the newly-constructed instrument in the Pauliner-Kirche at Leipsic; in 1719 he was once more in Halle and here very narrowly missed meeting Handel, who had travelled thither from London in search of singers for his newly-organized operatic academy and was spending a short time with his relatives before returning. Bach had been informed of this and went to call upon Handel, who, however, had already started on his return journey. Ten years later, he again came to Germany, but Bach was prevented by illness from paying his respects in person and therefore despatched his oldest son with an invitation for Handel to visit him. Although this was declined with an expression of regret, there is little, if any, ground for the assumption that Handel purposely avoided an acquaintanceship with Bach. Yet it may be said in favor of the latter that he always showed a lively interest in Handel's compositions, which was by no means fully reciprocated, and that it was not his fault if the two greatest musicians of their age never saw each other face to face.

In November, 1720, Bach paid a visit to Hamburg, which city, so far as we know, he had not seen since leaving Lüneburg, unless he stopped there on his way from Lübeck in 1706. The celebrated Johann Adam Reinken, almost a centenarian at this time, was still attached to St. Catharine's Church in Hamburg, and Bach very naturally felt a desire to again meet the master with whom he had studied as a boy. An appointment was made for him to play before the assembled magistrates of the city and many other illustrious personages, including Reinken. The venerable artist was greatly moved at Bach's performance (which lasted nearly half an hour) of the choral "By the waters of Babylon," which Reinken himself had long ago arranged for the organ after the manner of the Northern composers. At the close, he went up to Bach and said: "I thought this art was dead, but see that it still lives in you." It is possible that Bach also produced in Hamburg a church cantata of his own composition: "Whoso humbleth himself shall be exalted." A longing for his favorite instrument, of which he had been deprived in Cöthen, was certainly awakened in him by the great number of fine organs here at hand. It chanced that the post of organist at St. Jacob's Church was just then vacant, and a prize competition for the same was to take place on the 28th of November, but Bach was called home by his prince and could not delay so long. He departed on the 23d of November, leaving behind him the assurance that he would gladly accept the place, if offered him. The strongest desire to secure his services was shown by many influential persons, but the church authorities decided in favor of a native of Hamburg, a certain Joachim Heitmann, who, to be sure, was a very insignificant performer, but who had promised to pay into the church treasury a premium of 4000 Hamburg marks, in case of his election. The leading clergyman of the church, Erdmann Neumeister, was so enraged over this affair, that he soon after referred to it in his Christmas sermon, and summed up the expression of his sentiments with the pithy remark that if one of the angels of Bethlehem, divinely gifted as a musician, should desire to become organist at St. Jacob's, but possessed no money, he would be allowed to fly away again.

Not only was Bach awaited in Cöthen by his prince, but family affairs of urgent importance demanded his attention. A heavy loss had befallen him in the summer of this year--his wife had unexpectedly died while he was absent in Carlsbad with the prince. No news of the event had reached him and her remains had long since been committed to the earth when he returned and learned what had happened. In the next year another calamity followed hard upon the first: his oldest brother died at Ohrdruf, and two years later still the second brother, Johann Jakob, ended his eventful career. Sebastian Bach, meantime, was approaching the period of his second marriage, an event which took place in 1721. At the court in Cöthen, there lived a singer named Anna Magdalena Wilke, twenty-one years of age, the daughter of the court trumpeter at Weissenfels. Upon her Bach now fixed his choice, founded a new household with her help, and in their twenty-eight years of wedded life thirteen children were born to them. The unusual talent for music possessed by Anna Magdalena was developed under her husband's direction to such a degree that she was able to participate in his labors, and is known to have written out the different parts of many of his church cantatas. Two books of music still exist which Bach prepared for her, filled with songs and clavier compositions, mostly of his own writing. Judging from these books, he would seem to have composed his so-called "French Suites" especially for her; she must therefore have distinguished herself highly as a performer on the clavier. Notwithstanding the happy turn now given to Bach's life, his position in Cöthen was becoming uncomfortable for him. A week after his wedding the prince was also married. His bride had no taste for music, and therefore the prince's own interest in it was temporarily diminished. Bach could but clearly perceive that ultimately he would not be able to endure existence in Cöthen--the field of his usefulness was here too limited. Through the death of Johann Kuhnau, the position of cantor at St. Thomas' school in Leipsic had recently become vacant. Bach sought and obtained it, entering upon his duties on the 1st of June, 1723. He continued, however, in the service of the prince as capellmeister "von Haus aus," a title given to the incumbent of an office when not required to reside in the town. Bach was only called upon to appear at court occasionally in the capacity of musical conductor and to furnish compositions for extra occasions. Of this character was the festival cantata produced by him on the 2d of July, 1725, in celebration of the prince's second marriage. But his appreciative friend and patron was not destined to enjoy a long life; he died on the 14th of November, 1728. Bach composed for him a magnificent requiem, the performance of which he conducted in person.

Regarded from an external point of view, the change now made by Bach was a step downward, and he himself once wrote to Erdmann that he did not relish the descent at first. But the office of cantor at the Leipsic Thomas-Schule was by no means of the common order. It seldom happens that a position is filled so uninterruptedly by men of the highest importance, who, in many cases, were as eminent in science as in music, thus imparting to their office a twofold distinction. In this instance, the long list of especially famous names begins with Sethus Calvisius. He was followed in 1615 by Johann Hermann Schein, and the latter in 1630 by Tobias Michael. Sebastian Knüpfer succeeded to the office in 1657, Johann Schelle in 1676, Johann Kuhnau in 1701. Kuhnau died in 1722, having come into personal contact with Bach in the years 1714, 1716 and 1717.

The occupations of a cantor were not exclusively musical in character. From time immemorial he had been required to give scientific instruction, the third class in the school being allotted to him, while the conrector assumed the charge of the second class and the rector of the first. The city council of Leipsic, however, was fain to acknowledge that this arrangement was a difficult one to maintain. Capable musicians, as a rule, even if possessed of the requisite knowledge, took no pleasure in scientific teaching, and this was very decidedly the case with Bach. He soon confined himself wholly to the musical duties of his position and the supervision of the alumni, a care which was exercised alternately by the teachers. These alumni, fifty-five in number, who were supported and educated, free of expense, from the surplus funds of the institution, formed the vocal choir of the town. Bach attended to the daily training of these singers and generally officiated as leader at their public concerts. In the two principal churches of the city, the St. Thomas and the St. Nicholas, sacred music with instrumental accompaniment was given every other Sunday and, on great festival days, in both churches together. Exceptions to this custom were made during Lent and at the Advent season, when motets were sung, without accompaniment, and the leadership of these could be entrusted to an especially gifted member of the highest class in school, which was called the "praefectus chori." As the cantor had nothing further to do with the church services beyond conducting the music in the University Church on certain festal occasions and when wedding or funeral music was commanded, it cannot be said that Bach was overburdened with official duties. On the contrary, he was able to devote a considerable amount of time to composition, and made frequent journeys in the interest of his profession.

It would, however, be going too far to say that Bach's position at St. Thomas's was in every way a congenial one. On the contrary many of its duties were irksome to him, and he did not always find it agreeable to be brought into close contact with pupils who, in part at least, were wild and undisciplined. During the first part of his stay, under the lenient rule of the rector, Johann Heinrich Ernesti, the situation was very trying. We must remember that Bach was an artist, and, as such, of an irritable and capricious disposition, hence little adapted to the training of unruly youths. For the rest, although there was indeed no lack of musical interest in Leipsic, the performers engaged by the town authorities bore no comparison with those in the service of the princes' courts, and the proximity of Dresden, where the most eminent singers and instrumentalists were in active co-operation, was unfavorable, on account of easily-instituted comparisons. The town council of Leipsic could not and would not imitate the lavish generosity of the Saxon court in musical matters, and there is no doubt that it often failed to supply what was strictly necessary. A decided want of tact was also shown in dealing with a great artist, revered by the whole musical world, in precisely the same manner as with any other government official. That Bach was often oppressed with discontent is not to be wondered at, and the feeling seems to have reached its culminating point in the year 1730. After discharging the duties of his office for seven years and composing works of such magnitude as the St. John and St. Matthew Passions, numerous church and jubilee cantatas, including three of the latter order in celebration of the second centenary anniversary of the Augsburg Confession in 1730, it was nevertheless said in a council meeting held on the 2d of August, that the cantor was lazy, did not give proper attention to the singing lessons, and, had taken all sorts of unwarrantable liberties, in punishment for which a diminution of his fees had been resolved upon. The "liberties" consisted in his having once sent a member of the choir into the country without previously informing the Burgomaster and having himself made a journey without asking leave. So far as the singing-lessons were concerned, it had for a hundred years been customary for the cantor to give up the charge of them to the prefect of the choir, except on unusually important occasions. By way of response to this incredible proceeding on the part of the council, Bach drew up a memorial with the following title: "A brief but necessary Statement of what constitutes well appointed church music, with a few unprejudiced observations on its present state of decay." In this document he makes a statement of the amount of money he would require in order to organize church music according to his wishes, and contrasts with this the very insufficient sum actually at his command. Since the council did not afford him what he considered necessary, he began to entertain the idea of leaving Leipsic, and on the 28th of October, 1730, he wrote to Erdmann in Dantsic upon the subject. But no action was taken in the matter; Bach remained in Leipsic, and although vexations and annoyances were not wanting in after years, there seems to have been no recurrence of such a crisis. He always lived in friendly relations with the aged rector of the school, Johann Heinrich Ernesti, and found a warm friend and admirer in his successor, the distinguished philologist, Johann Matthias Gesner (1730-1734), whom he had known ever since the Weimar days. With the third incumbent of the office, however, Johann August Ernesti, he fell into a violent controversy, on account of the removal of a chorus prefect. This was fought out with much obstinacy by Bach because he knew he was right in the principal point at issue. He seems, moreover, to have come off victorious after a two years' struggle, but the consequence was an enduring bitterness between cantor and rector, which tended neither to the advantage of the school, nor of its music.

But if the drawbacks connected with Bach's stay in Leipsic are undeniable and deserving of the conspicuous mention which they have heretofore received, the question on the other hand might well be raised in what locality of the Germany of that day he could have found a position commensurate with his genius. He was not adapted by nature for a brilliant princely court like that of Dresden; there the opera and Italian singing were all in all; appreciation was lacking both for his organ music and his church cantatas--at the very most he was recognized as a virtuoso. And this would have been equally the case if his compositions had been less profound and earnest. He belonged in a place where he would come into constant communication with the Protestant church, and where, in case of need, he had means at hand for giving expression to his grand ideas. So far as such a place was to be found at all, Leipsic offered him perhaps a better field than any other of the larger German towns, and a wider sphere of action had become imperatively necessary for him, after the limitations imposed upon him at Weimar and Cöthen. The liturgy in the Leipsic churches, which even at the present day is comparatively rich, was then characterized by a fulness and variety scarcely inferior to that of the Catholics, and music was called into requisition in corresponding measure. Here was sufficient encouragement for the development of a many-sided activity. Bach's compositions, to be sure, were far above the comprehension of the Leipsic public. But a traditional respect for church music and their strong love for the Thomas choir furnished him at least with willing ears. As cantor of the institution, too, Bach was incontestably the first musical authority of the town, and the proud consciousness of this fact experienced by the artist, could not be even disturbed by the influence of the opera, then already established in Leipsic.[1]

The position occupied by Leipsic as a centre of traffic, especially at the time of the "Messen," or great fairs, heightened the importance of his office, and the strangers who poured into the town at such seasons bore away with them the fame of Bach. Few musicians came hither without seeking the acquaintance of the master, playing before him and begging the privilege of hearing him perform. If one reckons, in addition to these advantages, the material benefits derived from the position, which were sufficient to relieve a man of his simple habits from all wearing anxieties, a very comfortable picture is presented, the darker side of which is to be attributed rather to the deficiencies of the age than to the condition of affairs in Leipsic.

The twenty-seven years passed by Bach in the famous university town cover a period of prodigious activity in the composition of sacred vocal music. Works for the organ became more rare, since his calling brought him into no direct communication with that instrument. On the other hand, a series of magnificent works in the department of chamber music was written in Leipsic. For this his own home and the family life presented the strongest inducements, but about the year 1736, he also conducted a musical union composed of the university students, who assembled twice a week for practice. Journeys were at this time of frequent occurrence, especially to Dresden, where Bach had long possessed a wealth of friends and continually added to the number. In 1736 he received from the court in that city the title "Hof-Compositeur," and in 1733 his eldest son, Wilhelm Friedmann, secured his first position as organist at the Church of St. Sophia, in that city. During his travels in 1727, Bach was twice in Hamburg; his native province of Thuringia was not forgotten, and his relations with Weimar were renewed through the efforts of the successor of Duke Wilhelm Ernst. It is also certain that he paid at least one visit to Erfurt, one of the old gathering-places of the family. Between the years 1723 and 1726, he was frequently heard at the Saxon ducal court of Weissenfels and received from this court the title of Capellmeister, which he bore until his death. The last journey of which we have knowledge was undertaken in May, 1747, and directed to the court of King Frederick II. of Prussia, where, since the year 1740, his son Carl Philipp Emanuel had been established as chamber musician. The king resided in Potsdam and held here his regular "Musikabende," at which he himself played the flute in the circle of his musical friends. Hither Bach repaired on the 7th of May, accompanied by his son Wilhelm Friedemann, and here, through his playing, he aroused the admiration of the king, who himself gave a theme to work out on the clavier. The next day he performed before a crowded audience in the Church of the Holy Ghost, and on the same evening appeared again before the king at his palace, where, at Frederick's request, he improvised a six-part fugue. From Potsdam he went to Berlin and, among other objects of interest, visited the opera-house, built in 1743. After his return to Leipsic he employed the theme given him by the king as the basis of a series of artistic compositions of varying length, which he caused to be engraved and dedicated to Frederick, under the title: "_Musikalisches Opfer_."

During the last years of his life, Bach was several times drawn into literary controversies. One of his adversaries was Johann Adolf Scheibe, who, born in Leipsic in 1708, resided there as music-teacher till 1735 and then went to Hamburg, where he published a periodical to which he gave the title of "Critische Musikus." In this he attacked Bach on account of his confused and turgid style, which he characterized as both painful and ineffective, because it was opposed to common sense. Scheibe cherished a personal resentment against Bach, believing that he had judged him unjustly on the occasion of his candidacy for the position of organist at St. Thomas's Church in 1727. The attack caused great excitement and called forth a polemical discussion between Scheibe and Bach's friend, the university teacher, Johann Abraham Birnbaum, in which the former was finally worsted. After the lapse of some years, he seems to have realized that he had gone too far, and endeavored in his later works to efface the unfavorable impression produced by his immature criticism of the great artist. In 1749 the school rector, Biedermann, of Freiburg in Saxony, published a Latin treatise containing a warning to youth against an excessive devotion to music, as "easily leading to a dissipated life." In illustration of his theory, he cites a number of profligate characters, belonging to antiquity, and also dwells upon the small esteem in which the musicians of those days were held. The effect of this tirade was to excite the animosity of the whole musical profession, and Bach, whose pupil, Johann Friedrich Doles, was cantor of the Freiburg school, felt himself called upon to retaliate. He induced the organist Schröter to write a reply, which, however, did not appear in print until it had undergone a number of unwarrantable alterations, falsely attributed by the author to Bach himself. As a result of this, the latter was subjected to all sorts of annoyances, and though he did not defend himself with his pen, he was driven to do so through the medium of music. A Latin cantata, "Phöbus und Pan," which evidently referred to Scheibe's hostility, was composed by him in 1731 and performed by a society of musical students. At the time of the Birnbaum controversy, he again brought it to light, inserted a few appropriate allusions in the text, and produced it anew. He was not the man to suffer insult or see his cherished art defamed.