The life and character of John Sebastian Bach have a peculiar interest, not only for musicians and amateurs of music, but for every one who can appreciate sterling worth, combined with genius of the highest rank, and a modesty as great as it is rare. “Anyone,” said Bach, “could do as much as I have done if he worked as hard.” And this capacity for hard work is perhaps not the least among the many remarkable characteristics of the man. We find in him little of that desire for applause, for recognition, which is usually one of the strongest motives in an artist. He was content to labour as few men have laboured, in a remote corner of Germany, simply for art, and art alone. His greatest works never saw the light of publication during his life-time: he seemed to compose just because he obeyed the inward spirit of genius which drove him onward, and though his chamber works became fairly well known, his larger compositions were rarely performed outside the church or place for which they were composed. “The sole object of all music,” said he, “should be the glory of God and pleasant recreation,” and the “glory of God” was the mainspring of every action of his simple and pious life.

He was born on or about March 31st, 1685[7] at Eisenach in Thuringia, under the shadow of the famous Wartburg. A house still standing in the Frauenplan is pointed out by tradition as his birthplace, and contains a tablet to that effect. He was the youngest son of John Ambrosius Bach, at that time Court and Town musician of Eisenach, a place which had a good reputation for its music.

The lofty artistic and moral standard which permeated the whole of the numerous members of the Bach family seems to have culminated in the subject of this sketch. We have seen that for many generations they had been musicians, and had held the chief posts as organists and town musicians throughout Thuringia; and John Sebastian naturally had no other thought than to follow the family profession. Of the first few years of his life little is known. It is probable that he learned the violin from his father.

At Ohrdruf he joined the Lyceum,[8] where he laid the foundation of his general education, in Latin, Greek (from the New Testament), theology, rhetoric and arithmetic. He also took part in the chorus, whose duties were to perform in church on Sundays and festivals, as well as to sing motets at weddings and funerals, and at certain times to sing in the streets.[9] He became one of the principal singers, and had a fixed salary.

When he was fifteen he was obliged to leave his brother’s house, and he now determined to make his own way independently of assistance from others. Recommended by Herda, the cantor of the Lyceum, he went to the school of the convent of St Michael at LÜneburg, accompanied by his friend Georg Erdmann, about Easter 1700, and both were admitted to the choir as discantists with a salary. Bach’s voice soon broke, but he remained three years at LÜneburg as accompanist at rehearsals, besides playing the violin when required and taking part in the band that played through the streets at the New Year. His salary was probably twelve thalers a year, besides free board and lodging, and a share in the profits of the processional performances in the streets.

LÜneburg, like Eisenach, seems to have cultivated music with considerable energy. Besides the choir of which Bach became a member, there was a similar one belonging to the school of St John, and the rivalry which naturally arose led to collisions, which were put an end to by certain streets being allotted to each choir for its performances.

Bach, being now above want, devoted the whole of his available time to self-improvement, in spite of the great demands made on him by his duties. He found in the library of the convent compositions by all the best composers up to that period—Hammerschmidt, Scheidt, Ahle, Briegel, SchÜtz, RosenmÜller, Michael, Schop, Jeep, Krieger, Selle, CrÜger, and his own relatives Heinrich and John Christoph Bach. To these compositions we know that he devoted unremitting study, and at the same time worked with enormous industry day and night to improve his technique on keyboard instruments.

The organist of St John’s Church was BÖhm, a native of Thuringia, and a man of considerable genius. He had studied in Hamburg, and his compositions show the influence of Sweelinck and of Reinken the organist of St Catherine’s Church. The distinguishing characteristics of his school were “technical neatness, pleasing ingenuity, and a taste for subtle effects of tone.”[10]

Bach was now learning all he could from BÖhm, but in order to further advance himself he made several expeditions to Hamburg on foot, a distance of some 25 English miles.

Of one of these expeditions the following story is told. Bach, on his return journey, sat down outside an inn halfway between the two cities with not sufficient money in his pocket to avail himself of the excellent dinner that was being prepared, the odours of which reached him from the kitchen, when a window was suddenly opened and two herrings’ heads were thrown out. The herring in those days, as now, was one of the favourite articles of food in Germany, and the boy at once picked up the two heads. Inside each he found a Danish ducat. Who his benefactor was never became known to him; and the money not only paid for a dinner, but another journey to Hamburg as well.

From Reinken he obtained models for his early compositions of which Spitta mentions three as showing Reinken’s influence; organ arrangements of the two chorales “Es ist gewisslich an der Zeit,”[11] “An WasserflÜssen Babylon”;[12] and a toccata in G.

But Bach was not satisfied to study only the works of his own countrymen. About forty-five English miles to the south of LÜneburg is Celle, where the ducal court maintained a band which played French dance music, and where also French harpsichord music was held in considerable estimation. He took frequent opportunities of hearing this band, and so became familiar with the French style of music, which he admired, and much of which he copied.

Spitta considers that the chorale partitas “Christ, der du bist der helle Tag,” and “O Gott, du frommer Gott,”[13] were composed at LÜneburg, since they were certainly early works, and show the influence of BÖhm, in the elaboration of the motives and the use of basso ostinato, &c. It would seem that there was no good organ at LÜneburg, for his compositions of this period are either for harpsichord or, if for organ, show that he was not yet experienced in writing for the latter instrument.

In 1703 Bach was invited by Johann Ernst, younger brother of Duke Wilhelm Ernst, to join his orchestra at Weimar as a violinist with the title of “Hof-musikus,” or Court musician. This brought him into contact with a great deal of instrumental music, especially Italian works, and among musicians he there met Westhoff, the Duke’s private secretary, a good violinist, and Johann Effler an organist.

From Weimar he paid a visit to Arnstadt, only a few miles off, the former meeting-place of his family. Here he had an opportunity of trying the organ lately erected in the “New Church,” the organist of which was BÖrner, a man of no great attainments. The Consistory heard him, and, at once dismissing BÖrner, offered Bach the post: a high-handed proceeding, which they softened by making BÖrner “organist at Matins” and deputy to the Franciscan Church, on his full salary. Bach’s salary was raised by outside contributions, and the youth of eighteen found himself more highly paid than any of his fellow officials.

On August 14th, 1703, he was solemnly installed, and exhorted to industry and fidelity in his calling, and to act as an honourable servant and organist before God, the authorities, and his superiors. His official duties were to play on Sunday and Thursday mornings, and at one service on Mondays; so that he had ample leisure for study.

• 1. Principal (open diapason), 4 ft.[14]
• 2. Still gedact, 8.
• 3. SpitzflÖte, 4.
• 4. Quint, 3.
• 5. Sesquialtera.
• 6. Nacht-horn, 4 ft.
• 7. Mixture, 4 ranks.
• 8. Octava, 2 ft.
• 9. Glockenaccord.

Pedal.

• 1. Principal, 8 ft.
• 2. Sub-bass, 16.
• 3. Posaune, 16.
• 4. Violon bass, 16.
• 5. Octava, 2.
• Couplers for manuals and pedals.[15]

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 cantata for the first day of Easter, “Denn du wirst meine Seele nicht in der HÖlle lassen,” which was afterwards remodelled for use at Leipsic, was composed at Arnstadt, probably for Easter 1704.[16] It was his first cantata, and is in character similar to those in vogue in Northern Germany.

It consists of a short introductory sonata, for three trumpets, drums, strings and organ, then a bass solo, “For thou shalt not leave my soul in hell,” in which are important ritornels. This is followed by a recitative, a duet for soprano and alto in Italian aria form,[17] a tenor solo, “Be not dismayed,” after which the cantata closes with a soprano aria, “Up soul, and be joyful.”

During his stay at Arnstadt he chiefly cultivated instrumental music and composition, and, according to Mizler, began to show his eminence in organ-playing.

In 1704, Johann Jacob, Sebastian’s elder brother, who had entered the Swedish Guard as an oboe-player, came to bid farewell to his family and friends. For him Bach wrote the early “capriccio on the departure of his beloved brother.” This was modelled on Johann Kuhnau’s “Bible Sonatas.”[18]

A chorale arrangement for two manuals and pedals “Wie schÖn leuchtet uns der Morgenstern” of this period exists in MS. in the R. Library at Berlin, and seventeen variations on “Allein Gott in der HÖh sei Ehr” were in the possession of the late Dr Rust of Leipsic.

Towards the end of 1705 Bach determined to go to LÜbeck to hear and study the style of Buxtehude, one of the greatest organists then living. He found a deputy, and having obtained one month’s leave of absence, started on foot, on the journey of over 200 miles, with the object of arriving in time to hear the “evening performances” at the Marienkirche, which took place in November and December, which were peculiar to LÜbeck, and which Buxtehude had worked up to a high pitch of excellence. They consisted of sacred music both vocal and instrumental, with organ solos.[19]

Bach outstaid his leave of absence by some three months, and on his return to Arnstadt in February 1706 received a “citation” to appear before the Consistory to explain his conduct. The Consistory at the same time brought a charge against him of neglecting the training of the choir, and of introducing unseemly variations on the organ during the singing of the chorale, whereby the congregation were thrown into confusion; and they complained of the great length and unseemly figuration of his preludes to the chorales.

Bitter gives the whole of the report of this “citation,” in which the several charges are put to Bach and answered by him.

“The organist of the New Church, Bach, is required to say where he has been for so long of late, and from whom he received leave of absence?”

Ille.

“He has been to LÜbeck in order to learn things connected with his art, but that he had previously asked permission from the Herr Superintendent.”

Der Superintend.

“He had only asked permission for four weeks, but had remained away four times as long as that.”

Ille.

“Hopes that the organ would have been played by him whom he had put in, in such a manner that no complaint can be made on that point.”

Nos.

“Charge him with having made extraordinary variations in the chorales, and with intermixing many strange sounds, so that thereby the congregation were confounded. He must in the future, when he wishes to introduce some tonus peregrinus, continue in it, and not go off too quickly to something else, or, as he had hitherto been in the habit of doing, play a tonum contrarium. And then it is very strange that up to this time he has had no rehearsals, because he will not agree with the scholars. Therefore he is to declare whether he will play both figural and choral music with the scholars, since a capellmeister cannot be kept. If he will not do this, let him say so categorically of his own accord, that a change may be made, and some one who will undertake it can be appointed to the post.”

Ille.

“If an honest Director be appointed, he will play again.”

Resolvitur.

“He must explain his conduct within eight days. That scholar Rambach (the choir prefect) now appear, and be reproved for the disorders which up to this time have taken place between the scholars and the organist of the New Church.”

Ille.

“The organist, Bach, played for too long a time, but after this was notified to him, by the Herr Superintendent, he at once went quite to the opposite extreme and has made it too short.”

Ille.

“Accuse him (Rambach) of having gone to a wine-cellar last Sunday during the sermon.”

Ille.

“Was very sorry, and it should never happen again, and the clergy have already spoken to him very severely about it. The organist need not complain of him about the conducting, because it was undertaken not by him, but by the youth Schmidt.”

Nos.

“He must for the future behave quite differently and better, otherwise the gift which was intended for him would be withheld. If he has anything to remember against the organist, he must bring it forward at the proper place, and not take the law into his own hands, but behave in such a way as to give satisfaction, as he had promised. The servant of the Court is now ordered to tell the Rector to have Rambach imprisoned on four successive days for two hours each day.”

Bach was always irritable and obstinate, and had completely alienated his choir. He was too much engaged in composition to take any interest in training it, and it was in any case not good enough for him. The Consistory allowed that there were faults on both sides, and hoped that by giving him more time than the eight days he would come to some agreement with the choir: but in vain. For Bach having come fresh from the artistic life of LÜbeck found the drudgery of training the rough scholars unbearable. The answer that he was required to give in eight days completely left his mind, and after more than eight months the Consistory again “represented to the organist Bach that he should declare whether, as he has been ordered to do, he will rehearse with the scholars or not; as, if he feels no shame in remaining in the Church and receiving the salary, he must also not be ashamed to ‘make music’ (i.e. rehearse) with the scholars: for it is intended that these should exercise themselves, so that for the future they may have more skill in music.”

Ille.

“Will make the declaration on this subject in writing.”

Ille.

“Furthermore ask him by what power he has latterly allowed the strange maiden to appear, and to make music in the choir.”

Ille.

“Has already spoken about it to Master Uthe.”[20]

The “strange maiden” who made music with Bach in private in the church seems to have been his cousin, Maria Barbara, youngest daughter of Michael Bach of Gehren,[21] whom he married in the following year. It is not known how the matter ended, but Bach, from this time, began to endeavour to find another post.

An important post at St Blasius, MÜhlhausen, some 20 miles north of Gotha, fell vacant through the death of Johann Georg Ahle on December 2nd, 1706, and there were many candidates. It seems, from Gerber’s account (vol. ii. p. 764), to have been at first offered to Johann Gottfried Walther of Erfurt, but to have been declined by him;[22] and when Bach, whose friction with the Consistory made him anxious to leave Arnstadt, offered himself as a candidate, the Council, after hearing him play, were unanimous in his favour.

The church of St Blasius is a fine Gothic building, in strong contrast to the homely, towerless New Church at Arnstadt; and the office of organist is proportionately more important. Its present holder is Herr Musikdirector MÖller.