John Sebastian Bach came of a large family of Thuringian musicians, whose members have been traced back to the first decade of the sixteenth century. The name frequently occurs in the sixteenth and seventeenth centuries among the inhabitants of Arnstadt, Erfurt, GrÄfenrode, Molsdorf, Rockhausen and other villages; and that it has not yet disappeared is shown by the fact that the Erfurt Directory for 1899 contains the addresses of no less than thirteen Bachs.

The subject of this biography considered that the founder of his family was Veit Bach, who had settled at Presburg in Hungary as a baker and miller. Owing to religious persecution, however, he sold what he could of his property, returned to Thuringia with the proceeds, and settled at the village of Wechmar near Gotha. Here he recommenced his trade, and occupied his leisure with the cithara, or cither, even taking it to the mill, where he played it to the rhythmical tapping of the wheels. “He must,” says John Sebastian, “at any rate have learned time in this way.” The date of his birth is unknown. He died 1619 and left two sons, Hans and Johannes. All his descendants, to the number of sixty, were, with only two or three exceptions, musicians. Hans Bach, the great-grandfather of John Sebastian, was a weaver by trade as well as a musician. His father, Veit, sent him to Gotha to study music under a relative, Caspar Bach, the “town piper.” In his capacity of “Spielmann” or “Player” Hans travelled about to different towns in Thuringia to take part in the “town music” with his violin, and as he was also very humorous he became popular, and twice had his portrait painted. He died of the plague in 1626. He seems to have left several children, of whom three were musicians—

• Johann, 1604-1673.
• Christoph, 1613-1661.
• Heinrich, 1615-1692.

The following genealogy will enable the reader to distinguish the various members of this remarkable family. The names of sons only are given, as the daughters do not appear to have distinguished themselves. The list of nearly sixty names is not, however, by any means exhaustive. Spitta gives many more, and there were of course a great number whose names are entirely lost, for a peasant and artisan family is not usually careful to keep its genealogical tables in order.

THE BACH FAMILY.

(From Hilgenfeldt.)

Johann (No. 4) was born at Wechmar. He was apprenticed to the town piper of Suhl and became organist at Schweinfurt. In 1635 he married the daughter of his former master, and became director of the town musicians at Erfurt. During the time he was there the city was suffering terribly from the effects of pillage and quartering of soldiers, poverty and disorder; yet Johann Bach managed to found a family which multiplied rapidly, and soon filled all the town musicians’ places, so that for some century and a half, and long after no more of the family lived in the place, the town musicians were known as “The Bachs.”

He married twice, his second wife being Hedwig LÄmmerhirt.

He was organist of the Prediger Kirche at Erfurt, and was called by his contemporaries an “illustrious musician,” and he in a kind of way forestalled John Sebastian in being skilful in both sacred and secular, vocal and instrumental music.

The three towns of Erfurt, Arnstadt and Eisenach, now became the chief centres of the Bach family.

Christoph Bach (No. 5), the grandfather of Sebastian, born at Wechmar, entered the service of the Grand Duke of Weimar as lackey and musician. In 1642 he was a member of the Guild of Musicians at Erfurt, and in 1654 was Court and Town musician at Arnstadt, where his younger brother Heinrich was living. He does not seem ever to have been an organist, but a “Kunstpfeifer.”

During the Thirty Years’ War the town pipers and musicians had sunk very low in public estimation, and about the middle of the seventeenth century a strong effort was made by their various guilds to raise themselves to a more dignified position, in keeping with the worthiness of their calling. To this end they combined in drawing up a code of statutes, which was ratified by the Emperor Ferdinand III.;[1] the Bach family seem, however, to have kept aloof from this combination, and there is no doubt that they were better educated than the majority of town musicians.

Heinrich (No. 6) was appointed organist of the Franciscan Church at Arnstadt in 1641, which office he filled for fifty years. He suffered severely from the war, which disorganised everything, and his salary, like that of every one else, got into arrears. Moreover there were war taxes to be paid, and the soldiery seem to have robbed and plundered at their will. He petitioned the Count of Schwarzburg for his salary as he “knew not where to find bread for himself and his young family.” The Count ordered his salary to be paid, but the keeper of the funds immediately resigned. It is supposed that Bach managed to eke out his existence by cultivating a small plot of land which it was usual to give to organists in Thuringia as part of their salary. He kept to his pious and simple life all through the horrors of the times, (which reduced the mass of the people to a state of coarseness and immorality), and brought up six children, three of whom became famous musicians in their day. In the funeral sermon preached by Olearius, he is mentioned as the composer of chorales, motets, concertos, fugues and preludes, but few of his compositions have been preserved.

Johann Christian Bach (No. 7), a viola player and music director, belonged to Erfurt, whence he went to Eisenach, being the first of his family to settle there.

Johann Ægidius Bach (No. 8) became director of the town musicians and alto-viola player at Erfurt in succession to his brother Joh. Christian (No. 7) and his cousin Ambrosius (No. 11) when they moved to Eisenach. Like several others of his clan he married the sister of his elder brother’s wife, and soon after became organist of St Michael’s Church, which post he held to an advanced age.

John Nicolaus Bach (No. 9) was a town musician and good performer on the viola-da-gamba. He died of the plague in 1682.

Georg Christoph Bach (No. 10), born at Erfurt, was an usher in a school at Heinrichs near Suhl, but became cantor, first at Themar, near Meiningen, and afterwards at Schweinfurt, where he died. He was a composer, but his works are all lost.

Johann Ambrosius Bach (No. 11), the father of John Sebastian, was twin brother to Johann Christoph (No. 12). The two brothers had a most remarkable likeness, not only externally but in character and temperament. They were both violinists and played in exactly the same style; they thought and spoke alike, and their appearance was so similar that it is said their own wives could not distinguish them apart. They suffered from the same illnesses, and died within a few months of one another.

Ambrosius first settled at Erfurt as an alto-viola[2] player, and was elected a member of the Town Council. Here he married Elizabeth LÄmmerhirt, the daughter of a furrier, and a relation of Hedwig the wife of Johann (No. 4). He now moved to Eisenach, and was succeeded at Erfurt by his cousin Ægidius (No. 8). He undertook the care of an idiot sister who died shortly afterwards, and for whom a funeral sermon was preached, in which the Bach brothers are referred to as being “gifted with good understanding, with art and skill, which make them respected and listened to in the churches, schools, and all the township, so that through them the Master’s work is praised.” Little is known of the life of Ambrosius beyond the fact that he is mentioned in the church register at Dornheim as “the celebrated town organist and musician of Eisenach.” Six children were born, the youngest being Johann Sebastian.

Johann Christoph Bach (No. 12) was Court musician to Count Ludwig GÜnther at Arnstadt. The first thing we hear of him relates to a kind of action for breach of promise of marriage brought before the Consistory at Arnstadt by Anna Cunigunda Wiener, with whom he had “kept company” and exchanged rings. The Consistory (a spiritual court) decided that Bach must marry her, but, with the independence of character which was peculiar to his family, he refused and defied them—an unheard-of thing for a musician to do in those days—declaring that he “hated the Wienerin so that he could not bear the sight of her.”[3] The case lingered for two and a half years, and ended in his favour. He remained single for many years afterwards, marrying eventually a daughter of the churchwarden of Ohrdruf.

Quarrels between GrÄser, the town musician, and Johann Christoph Bach led to the dismissal of all the Court musicians on account of the disunion which made it impossible for music to prosper. For a time, therefore, he had to make a meagre living by “piping before the doors,” but after the death of the Count his successor reappointed Bach “Court musician and town piper.” At this time Adam Drese was Capellmeister at Arnstadt, and there exist catalogues of the Court musicians which are of interest as showing the kind of musical establishment that prevailed at the petty courts in Germany. One of these catalogues gives the names of seven singers, four violinists, three viola players, a contrabassist, and the organist Heinrich Bach (No. 6).

There were trumpeters, and extra singers from the school, who could also play stringed instruments, so that on occasion a very respectable string orchestra was available, consisting of twelve violins, three alto violas, three tenor violas, two bass viols, and a contrabasso. The violoncello does not seem to have been represented. Christoph Bach’s income in later life was sufficient not only to raise him above want, but to enable him to leave something to his family, on his death, in 1694, at the age of forty-eight.

Johann Christoph composed many chorale-vorspiele for the organ, of which forty-eight are preserved in a MS. formerly belonging to Spitta. The themes are worked out on the same lines as those of John Sebastian, but in a more elementary form. His vocal compositions are, however, much in advance of his instrumental works, and he seems certainly to have been the most important member of his family before his great nephew appeared.

Johann Michael Bach (No. 14) was an accomplished organist. His character may be imagined from the account of his appointment to the organistship of Gehren near Arnstadt, when we are told that after his examination, the authorities thanked the Count for having sent them a peaceable, retiring, and skillful performer. He was also made parish clerk, and his income from the two posts amounted to 74 gÜlden, 18 cords of wood, 5 measures of corn, 9 measures of barley, 3½ barrels of beer, some land, and a house free of rent. Besides being a composer he made clavichords and violins. His youngest daughter became Sebastian Bach’s first wife. A cantata on “Ach! bleib bei uns, Herr Jesu Christ” by him is preserved in the Bach archives in the Royal Library at Berlin, “full of interesting details and ingenious ideas.”[4] It is scored for four voices, two violins, three violas, bassoon, and organ, and is preceded by a “sonata.” Twelve of his motets are preserved, but they are incoherent in structure, being composed in a time of transition. Some of them are to be accompanied by strings which double the various voice parts, and ten of them are interwoven with chorales. In “Das Blut Jesu Christi” for five voices “the deep feeling of the compositions overcomes us with irresistible power, and one forgets the imperfection of the body in the beauty of the soul which shines through.”[5] Four of the motets are for double chorus and in some one can feel “the romantic spirit of Sebastian Bach.”

Johann GÜnther Bach (No. 15) was a good organist, and deputised for his father when absent from Arnstadt. Little is known of his life, but Hilgenfeldt says he is mentioned as a capable instrument maker as well as organist.

Johann Jacob Bach (No. 16) did not follow the musical profession.

Johann Christoph Bach (No. 17), also born at Erfurt, was cantor and organist of Unterzimmern near Erfurt. In 1698 he succeeded Michael Bach in the Cantorship at Gehren. He was threatened with removal by the Arnstadt authorities on account of his temper, though the threat was never carried out. He died in 1727.

Johann Bernhard Bach (No. 18), born at Erfurt, was at first organist in his native town, then at Magdeburg and afterwards succeeded Johann Christoph (No. 13) in 1703, as Court and town organist at Eisenach, and was also made Chamber Musician to the Duke of Sax-Eisenach. Of his compositions there remain four suites for orchestra, some small pieces for cembalo and some chorale arrangements. According to Spitta he was one of the most able composers of his time, following the lines of Pachelbel. His orchestral works were so esteemed by John Sebastian that he copied them, and the copies still exist.

Johann Christoph Bach (No. 19) was “Raths-Musikdirector” (Town Council Musical-director) at Erfurt, in succession to Ægidius.

Johann Nicolaus Bach (No. 20), a surgeon, settled in East Prussia, where he brought up a numerous family.

Johann Valentin Bach (No. 21) was town musician and head watchman at Schweinfurt.

Of Johann Christian Bach (No. 22), and Johann Georg (No. 23), nothing is known.

Johann Christoph Bach (No. 24), the elder brother of Sebastian, organist and schoolmaster at Ohrdruf, was a pupil of Pachelbel, and appears to have made some reputation as a musician, since he refused an invitation to go to Gotha as organist, on account of an increase of salary being given him at Ohrdruf.[6]

Johann Jacob Bach (No. 25) entered the Swedish guard as oboe-player. He followed Charles II. of Sweden, and took part in the battle of Pultawa, and, after a stay at Bender in Turkey, retired to Stockholm as Court musician.

Johann Sebastian Bach (No. 26).

Johann Ernst Bach (No. 27) was organist at Arnstadt, while Johann Christoph Bach (No. 28) went into the grocery trade.

Johann Nicolaus Bach (No. 29) was University and Town organist at Jena, and after having travelled to Italy for study, returned to Jena, where he remained till his death at the age of eighty-four. He was an able composer, of whose works, however, only a mass remains, which is much praised by Spitta.

Johann Christoph Bach (No. 30) taught music in Hamburg, Rotterdam, and finally in England.

Johann Friedrich Bach (No. 31) succeeded J. Sebastian as organist at MÜhlhausen, the only member of his family who is mentioned as unsatisfactory in character, he being given to drink. Gerber calls him by mistake Johann Christoph.

Johann Michael Bach (No. 32) was an organ-builder. He went to Sweden, and all traces of him were lost.

Johann Ludwig Bach (No. 33) held the post of capellmeister to the Duke of Sax-Meiningen. His compositions were highly valued by Johann Sebastian, who copied many of them. Hilgenfeldt distinguishes him as a fine church-composer.

Johann Samuel Bach (No. 34), and Johann Christian Bach (No. 35), settled at Sondershausen as musicians.

Johann GÜnther Bach (No. 36) was tenor singer and schoolmaster at Erfurt.

Johann Ernst Bach (No. 37) studied law and became a barrister, but was also an organist and composer. He died in 1781 as Capellmeister to the Count of Weimar.

Johann Friedrich Bach (No. 38) became a schoolmaster, as did also his brother Johann Ægidius (No. 39). Of Wilhelm Hieronymus (No. 40), nothing is known.

Johann Lorenz Bach (No. 41) was organist at Lahm in Franconia.

Johann Elias Bach (No. 42) studied theology, and became cantor and school-inspector at Schweinfurt, his native town.

Of Johann Heinrich Bach (No. 43) nothing is known.

Tobias Friedrich Bach (No. 44) was cantor of Udestadt, near Erfurt.

Johann Bernhard Bach (No. 45), according to Adlung, was a capable composer and organist.

Johann Christoph Bach (No. 46) filled the double rÔle of cantor and schoolmaster at Ohrdruf.

Johann Heinrich Bach (No. 47) was cantor at Oehringen, in WÜrtemburg, and musician to Count HÖhenlohe; while Johann Andreas Bach (No. 48) was oboist at Gotha, and afterwards organist at Ohrdruf.

We now come to the sons of Johann Sebastian. An account of their services to art will be found in C. H. Bitter’s “Die SÖhne Sebastian Bachs,” published by Breitkopf and HÄrtel, 1883. We must be here content with a bare outline of their biographies.

Wilhelm Friedemann Bach (No. 49), born at Weimar, was a pupil of his father and of Graun, concert-meister of Merseburg. He went to the University of Leipsic, where he distinguished himself in law and mathematics. In 1732 he became organist of St Sophia at Dresden, but giving this up, he accompanied his father on his various journeys. In 1747 he became music-director of a church in Halle, and is sometimes called the “Halle Bach.” Quitting this post he lived without employment at various places, and died at Berlin in 1784 in great poverty and misery, having been given to drink.

FÉtis and Bitter say he was the greatest organist in Germany after his father, and Forkel states that his “clavier-playing was light, brilliant, and charming,” and his “organ style was elevated, solemn, and full of religious feeling.” He extemporised much but composed little, though some sonatas for clavecin, both solo and with violin, some polonaises, organ-pieces, concertos, fugues, symphonies and cantatas have come down to us.

Johann Christoph (No. 50) died in infancy.

Carl Philipp Emanuel (No. 51) the most celebrated of Sebastian’s sons is called the “Berlin Bach,” having lived in that city for twenty-nine years. He studied at St Thomas’ School at Leipsic under his father, and afterwards joined the University of Leipsic as a student of law, but completed this course of study at Frankfort on the Oder. In 1738 he entered the service of Frederick the Great at Berlin as cembalist. In 1767 he went to Hamburg in succession to Telemann as director of music, after having with great difficulty obtained leave from the Court at Berlin to depart. Here he remained till his death in 1788. He was a prolific composer in all styles. A catalogue of his works is given by FÉtis, among the most important of which are those for clavier, and his “Attempt to explain the true art of Clavier-playing,” the first treatise on the subject if we except Couperin’s “L’art de toucher le clavecin.” It describes the method of John Sebastian, from which the present style of piano-playing is developed, and the rules for the execution of the “Manieren”; while in the second part, thorough bass and accompaniment of voices are treated of. He became the greatest theorist of his time, and in his autobiography he says, “In composition and clavier-playing I have never had any teacher but my father.” Hilgenfeldt remarks that he was intended for a learned profession and only studied music as an amateur; but Bitter shows that he was an artist, and was brought up as a practical musician, his scientific studies being secondary to music.

Emanuel occupies a very important position in the history of music. His period was one of transition. Polyphony had reached its highest point. Oratorio had been developed to its greatest splendour, and organ and clavier-playing had reached their highest development on the old lines. His services to art were that he opened new paths in clavier-music, which made possible the creations of Haydn, Mozart and Beethoven. Bitter considers him the father of that particular kind of form which has been found suitable to the modern piano: viz. the sonata form. His smaller sonata forms were based on those of the preludes in the Wohltemperirte Clavier which are in two sections, and this form was developed by Haydn and his successors. The form is found in the six sonatas of 1742, but it had been used by Krebs in his “Preambles” two years earlier.

Johann Gottfried Bernhard Bach (No. 52) was given the post of organist at MÜhlhausen in response to an earnest letter from his father to the authorities. He, however, shortly afterwards went to Jena to study law, and died there in 1739 of a fever.

Leopold August (No. 53) died young.

Gottfried Heinrich Bach (No. 54) is only known as having lived in Leipsic in the year 1754.

Christian Gottlieb Bach (No. 55) lived only three years.

Ernst Andreas Bach (No. 56) died the year he was born.

Johann Christoph Friedrich (No. 57), was called the “BÜckeburger Bach” from his holding a post as Chamber musician to Count von Lippe at BÜckeburg. He composed oratorios, Passion music, and many other things. He was remarkable for a deep insight into the essence of harmony, and a very good style of clavier-playing, which approached that of his brother Emanuel. He is also mentioned as a man of amiable and upright character.

Johann August Abraham Bach (No. 58) died young.

Johann Christian (No. 59), called the “Milanese” and afterwards the “English” Bach, was born at Leipsic, and at the age of fourteen (on the death of his father), he went to his brother Emanuel at Berlin. When his education was completed he went to Milan, where he worked hard at the composition of songs. His wealth of melody, and the facility with which he produced it, led him to attach himself to the Neapolitan school of composition, the result being shown in a number of works which the greatest singers of his day took as their favourite concert songs. His clavier works were chiefly written for amateur lady pupils, and it has been said that the great increase of clavier dilettanti towards the end of the eighteenth century is to be attributed directly to the influence of Christian Bach.

He composed concertos, operas, oratorios, besides every kind of clavier and other instrumental music in the fashion of the day; “but,” says Schubart, “in the midst of his frivolity the gigantic spirit of his father always shines.” He was organist of Milan Cathedral, and from there went to London, where he remained till his death in 1782. Although he made a large income from his pupils and compositions, he died deeply in debt, and his widow (an Italian prima donna) received a pension from the Queen.

The eight daughters of Sebastian showed none of the musical talent of their brothers, and, with the exception of three, they all died young. One of them married Bach’s pupil Altnikol, of whom we shall hear later. The family gradually died out, and after the sons of Sebastian, none showed exceptional musical ability.

The clan feeling was very strong. It was a family custom to meet together at Erfurt, Eisenach or Arnstadt once a year, and to spend a day in friendly intercourse. The day was begun with the singing of a chorale, after which jokes and all manner of pleasant pastimes were indulged in. One of their favourite pursuits on these occasions was the singing of “quodlibets” consisting of the endeavour to make three or four popular or well-known songs harmonise together, these extempore efforts being intended more as a joke than as serious music.

Hilgenfeldt quotes a quodlibet of the sixteenth century of which we give a few bars: