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The Master Musicians
The Master Musicians
Edited by Frederick J. Crowest LIST OF VOLUMES. BACH. By C. F. Abdy Williams . [ Fourth Edition. BEETHOVEN. By F. J. Crowest . [ Eighth Edition. BRAHMS. By J. Lawrence Erb . [ Second Edition. CHOPIN. By J. Cuthbert Hadden . [ Fourth Edition. HANDEL. By C. F. Abdy Williams . [ Third Edition. HAYDN. By J. Cuthbert Hadden . [ Second Edition. MENDELSSOHN. By Stephen S. Stratton . [ Fifth Edition. MOZART. By E. J. Breakspeare . [ Third Edition. SCHUBERT. By E. Duncan . [ Second Edition. SCHUMANN By A
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Bach
Bach
By C. F. Abdy Williams M.A. Cantab.; Mus. Bac., Oxon. et Cantab. With Illustrations and Portraits London: J. M. Dent & Sons Ltd. New York: E. P. Dutton & Co. 1921...
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Preface
Preface
The position of Johann Sebastian Bach as one of a numerous family of musicians is unique. Of no other composer can it be said that his forefathers, contemporary relations, and descendants were all musicians, and not only musicians, but holders of very important offices as such. All his biographers have therefore given some account of his family antecedents before proceeding to the history of his life; and I have found myself obliged to follow the same course. In other respects I have adopted the
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THE BACH FAMILY.
THE BACH FAMILY.
(From Hilgenfeldt.) 1. Veit Bach , 155—-161—, the Founder. Sons of Veit. 2. Hans d. 1626. 3. Johannes ... Sons of Hans. 4. Johann , 1604-1673. 5. Christoph , 1613-1661. 6. Heinrich , 1615-1692. Sons of Johann (No. 4). 7. Johann Christian , 1640-1682. 8. Johann Ægidius , 1645-1717. 9. Johann Nicolaus , 1653-1682. Sons of Christoph (No. 5). 10. Georg Christoph , 1642-1697. 11. Joh. Ambrosius , 1645-1695. 12. Joh. Christoph , 1645-1694. Sons of Heinrich (No. 6). 13. Joh. Christoph , 1643-1703. 14.
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Pedal.
Pedal.
The keyboards, of which we give a photograph, are preserved in the Rathhaus. The instrument was built by Wender of Mühlhausen in 1703. Bach had also the direction of a small school choir, which was augmented by “adjuvanten” or amateur singers, and he had to accompany and attend the rehearsals of the church choir, besides which he probably played the violin in the Count’s band. There was also a theatre belonging to the Count, in which “Singspielen” or operettas were occasionally performed. The ca
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Chapter III
Chapter III
Bach’s salary—He borrows a cart from the Consistory for his furniture—The agreement is made verbally—Bach’s first marriage—His duties at St Blasius—The festival compositions—Repairs to the organ—Difficulties with the Pietists—He resigns his post—Is appointed chamber-musician at Weimar—His duties there—His relations with Walther—Studies instrumental music—His journeys—His competition with Marchand. The competition took place at Easter 1707, and terms were arranged a month later. An organist is ra
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Chapter IV
Chapter IV
Bach becomes capellmeister to the Duke of Cöthen—His Weimar pupils—His new duties—Death of his wife—Journey to Hamburg—He competes for an organistship there—The post is sold—Disgust of Mattheson at the transaction—Bach endeavours to meet Handel—His second marriage—Is obliged to leave Cöthen. Bach returned from Dresden to prepare for a jubilee at Weimar, in commemoration of the two hundredth anniversary of the Reformation. The festival took place from October 31st to November 2nd, and for it Bach
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Chapter V
Chapter V
The position and duties of the Cantor of St Thomas’ School at Leipsic—The condition of the school in 1722—Kuhnau’s death—Competition and election of two cantors in succession—Bach offers himself—Is elected—Difficulties with the authorities. The Council make irritating regulations—Bach endeavours to leave Leipsic—Election of a new Rector, and temporary disappearance of Bach’s troubles. Of the three ancient schools at Leipsic, St Thomas, dating from the thirteenth century under the Augustines, was
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Chapter VI
Chapter VI
Home life at Leipsic—Personal details—Music in the family circle—Bach’s intolerance of incompetence—He throws his wig at Görner—His preference for the clavichord—Bach as an examiner—His sons and pupils—His general knowledge of musical matters—Visit from Hurlebusch—His able management of money—His books and instruments—The Dresden Opera—A new Rector, and further troubles—Bach complains to the Council. Let us now turn for a moment from this account of troubles and see what the man was like in his
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Chapter VII
Chapter VII
Bach obtains a title from the Saxon Court—Plays the organ at Dresden—Attacked by Scheibe—Mizler founds a musical society—Further disputes—Bach’s successor chosen during his life-time—Visit to Frederick the Great—Bach’s sight fails—Final illness and death—Notice in the Leipsic Chronicle —The Council—Fate of the widow and daughter. At the end of 1736 Bach went to Dresden where he was given the title of composer to the Saxon Court. He had applied for a title three years before, in the hope that it
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Chapter VIII
Chapter VIII
The Cantatas and the Chorale The prevailing characteristics in Bach’s compositions are intense earnestness of purpose, and, in his church music, a deep religious feeling, too deep for the ordinary everyday person to appreciate; an absolute absence of anything extraneous, such as concessions to singers and performers, or to the fashion of the day. When Bach writes florid or highly ornamental passages, they are not intended merely to exhibit the skill of the performer—their most important purpose
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Chapter IX
Chapter IX
The Matthew Passion and B Minor Mass [63] It was Luther’s chief intention to make the congregation take more part in the service of the Church than they had formerly done. The first thing therefore was to diminish or abolish the use of Latin; and the people were made to sing what they could understand and appreciate. Luther translated a number of excellent old church hymns, and made new tunes for them, being assisted in this work by friends. The newly arranged hymns were to take the place of the
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Chapter X
Chapter X
The Wohltemperirte Clavier —“The Art of Fugue”—“Musical Offering”—Bach as a Teacher—Bach’s Works in England. The Wohltemperirte Clavier was gradually compiled and formed into a complete work in two parts. The first part was completed at Cöthen in 1722, and entitled “The well tempered clavier, or preludes and fugues through all tones and semitones, both with major and minor thirds. For the edification and use of young musicians who are eager to learn, and for the recreation of those who are alrea
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Chapter XI
Chapter XI
The Christmas Oratorio—The Magnificat—The Lost Works—Instrumental Works—Bach’s Playing—The Manieren , or Grace Notes. Bach never wrote an oratorio in the sense of a sacred dramatic work to be performed on a stage without action. We have shown that the Passion settings are a portion of the Lutheran Lenten services; and the church cantatas take much the same place as the anthem in the English Cathedral service, with the difference of greater length, orchestral accompaniment, and an opportunity for
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Chapter XII
Chapter XII
Innovations in the Fingering and Use of Keyed and Stringed Instruments. At Weimar Bach had devoted a considerable part of his energies to the clavier, as his official duties demanded. The harpsichord, being deficient in expression and in duration of sound, required rapidity of movement and polyphonic writing to produce its due effects. Bach did what was possible, however, to use the legato style on it, and on the other hand introduced on the organ, as far as it would bear it, the rapid execution
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Pedal
Pedal
There were also Tremulant, Vogelgesang, Zimbelstern-Ventils and ten bellows. The organ loft has been twice enlarged, first in 1802, and afterwards in 1823. It now accommodates the whole of the large double chorus and double orchestra employed in performance of the Passion music on Good Friday. The smaller organ was built in 1489. In Bach’s time it stood in a gallery opposite the large organ. It was of very little use, and in 1740 was sold to St John’s Hospital. It had three manuals, pedal, and t
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Pedal
Pedal
The organ had been tried by Bach on its completion in 1716, who wrote a very elaborate report. [82] It may be of interest to quote some of Bach’s remarks, 1. He says that the space occupied is too confined to admit of easy access to some of the parts, in case of repairs being required. This was, however, not the fault of the builder Scheibe, as he was not allowed the space he asked for. 2. The wind must be made to come more equally, so as to avoid heavy rushes of wind. 3. The parts quite fulfil
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Chapter XIV
Chapter XIV
Bach as “ Familien-Vater ”—As a choirmaster—His eagerness to learn all that was new and of value in music—He finds time to conduct public concerts—His self-criticism—Bach was never a poor man—His reputation was gained by his playing rather than compositions—Portraits—Public monuments. One often hears in Germany the expressions “ Familien-Vater ,” “Haus-Vater,” applied as terms of special commendation to public men, in the sense that their private life is of estimable character, that they do thei
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CHURCH CANTATAS
CHURCH CANTATAS
The numbers refer to the Bachgesellschaft Edition. 2 Ach Gott vom Himmel sieh darein. Second Sunday after Trinity. Chorale Cantata. 3 Ach Gott, wie manches Herzeleid. Second Sunday after Epiphany. Chorale Cantata. 58 Ach Gott, wie manches Herzeleid. Second Sunday after Christmas. Solo Cantata for soprano and bass. 135 Ach Herr, mich armen Sünder. Third Sunday after Trinity. Chorale Cantata, Leipsic. 162 Ach, ich sehe, itzt, da ich. Twentieth Sunday after Trinity. 114 Ach, lieben Christen, seid g
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FUNERAL ODE
FUNERAL ODE
Lass, Fürstin, lass noch einen Strahl. Called “Weeping Leipsic.” Written for the death of Princess Christiane Eberhardine, wife of Augustus the Strong....
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MOTETS
MOTETS
Jesu meine Freude. Five voices. English edition, “Jesu, priceless treasure,” Novello. A hymn by Franck in six stanzas. Der Geist hilft unsrer Schwachheit auf. Eight voices. Written for the funeral of the Rector Heinrich Ernesti, 1729. The composer added a figured bass for the organ. English edition, “The Spirit also helpeth us,” Novello. Furchte dich nicht. Eight voices. English edition, “Be not afraid,” Novello. Komm Jesu, komm. Eight voices. Lob und Ehre und Weisheit und Dank. Eight voices. En
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SECULAR CANTATAS
SECULAR CANTATAS
Drama: Geschwinde, ihr wirbelnden Winde. The contest between Phœbus and Pan. Weichet nur, betrübte Schatten. For soprano voice. Amore traditore. For bass voice, accompanied by cembalo only. Drama: Zerreisset, zerspringet, Zertrümmert die Gruft. For the name-day of Dr A. F. Muller. Leipsic, Aug. 3, 1725. Drama: Schleicht, spielende Wellen. For the birthday of Augustus III. Drama: Vereinigte Zwietracht der wechselnden Saiten. For a University celebration, Leipsic, 1726. Was mir behagt, ist nur die
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WORKS KNOWN TO BE LOST
WORKS KNOWN TO BE LOST
Three Passions. It is known that Bach wrote five Passions, from information given by his son C. P. Emanuel, and his pupil Agricola in Mizler’s Necrology. A great funeral ode on the death of Prince Leopold of Cöthen. Several Cantatas....
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ORGAN
ORGAN
The numbers refer to the volumes in Peters’ edition in which each work will be found. Six sonatas for two manuals and pedal (240). These sonatas and the passacaglia were written for his young son, W. Friedemann, to practise on the pedal clavichord. Many of the trills, which are necessary on this instrument, are intended to be omitted when the pieces are played on the organ. According to tradition the date is 1723. The first movement of the sonata in D minor appears in 1722, as the prelude in tha
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ORCHESTRA
ORCHESTRA
Concerto in F (261). For violins, piccolo, three oboes, and two corni di caccia, with accompaniment for two violins, viola, violoncello and bass. Concerto in F (262). For violin, flute, oboe, and trumpet concertante, with accompaniment for two violins, viola, violoncello and bass. Concerto in G (263). For three violins, three violas, three violoncellos and one bass. Rearranged as the introductory “symphony” to the cantata “ Ich liebe den Höchsten .” Concerto in G (264). For violin and two flutes
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Works for Cembalo, Clavichord, Spinet, &c.
Works for Cembalo, Clavichord, Spinet, &c.
The Forty-eight Preludes and Fugues. Part I. (1 and 1a). Part II. (2 and 1b). For clavichord. See p. 131. Sonatas (213) in A minor. From a sonata for two violins, viola da gamba and bass in Reinken’s “ Hortus Musicus .” In C major. Arranged from Reinken’s “ Hortus Musicus .” In D minor. Arranged from the sonata in A minor for violin alone (228). Prelude and Fugue in E flat (214). Fugue in B minor (214). Suites in A minor (214). In E flat. In G. Preludio con Fughetta in F (214). Prelude in G (214
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KEYED INSTRUMENTS WITH ACCOMPANIMENT.
KEYED INSTRUMENTS WITH ACCOMPANIMENT.
Concerto in F (248). For clavecin and two flutes concertante, with accompaniment for two violins, viola and bass. Concerto in G minor (249). For clavecin, with accompaniment for two violins, viola, violoncello and bass. Concerto in F minor (250). For clavecin, with accompaniment for two violins, viola and bass. Concerto in D major (251). For clavecin, with accompaniment for two violins, viola and bass. Concerto in A major (252). For clavecin, with accompaniment for two violins, viola, violoncell
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FOR OTHER INSTRUMENTS.
FOR OTHER INSTRUMENTS.
Concerto in A minor (229 [86] ). For violin, with accompaniment for two violins, viola and bass. Also arranged for clavecin and strings in G minor. Concerto in E (230 [87] ). For violin, with accompaniment for two violins, viola and bass. Concerto (231 [87] ) in D minor . For two principal violins, with accompaniment for two violins, viola and bass. Also arranged for two clavecins and strings in C minor ( 257b ). Three Sonatas and three Suites for violin, without accompaniment (228). Composed at
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Bibliography
Bibliography
Adlung (J. A.). Musica mechanica organœdi , 1768, (notes in). Bach (J. S.). Eine Biographie, mit Portrait. Cassel, 1855. Bachgesellschaft. The complete works of Bach in 60 volumes, with important introductory notices; published by the Bach Society of Leipsic. Breitkopf & Härtel, 1851 to 1898. Bitter (C. H.). Joh. Seb. Bach. Berlin, 1865: 2 vols.; and 1880: 4 vols. —— Die Söhne Sebastian Bachs . 1883. In Waldersee’s Sammlung musikalische Vorträge , vol. v. Brockhaus. Conversationslexicon.
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Glossary
Glossary
Ahle , Joh. Rudolph, was born 1625, and, after holding a post at Erfurt, became organist and burgomaster of his native town Mühlhausen. His chorale tunes are still popular in Thuringia. On his death in 1673 he was succeeded by his son Joh. Georg, who was a member of the Town Council, and poet laureate to the Emperor Leopold I. Böhm , Georg. Is described by Walther as a fine composer and organist of St John at Lüneburg. Bach modelled some of his early chorale-preludes, notably “Wir glauben all’ a
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