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.
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.
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.
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.
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. Spitta30 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.
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 composed at least one cantata and perhaps two. On this occasion the Duke established a fund, of which the interest was to be distributed yearly, the Court organist to receive 3 gülden from it.
Fourth appointment
The old capellmeister, Samuel Drese, had for twenty years been too much out of health to fulfil his duties. The duke, however, would not dismiss him, but gave him a deputy, G. C. Strattner, at a salary of 200 gülden. Drese died on December 1, 1716, and it would seem natural that Bach should be appointed in his place. For some reason, however, he was passed over, and Drese’s son (who had succeeded Strattner as deputy capellmeister) was installed. Bach, therefore, accepted an offer made by Prince Leopold of Anhalt-Cöthen of a capellmeister-ship, and in November 1717 moved to Cöthen. His post at the Weimar Castle organ was filled by his pupil Schubart.
Amongst Bach’s duties at Weimar was that of composing and conducting a certain number of sacred pieces every year, to texts by Franck, the secretary to the Superior Consistory of the Principality of Weimar, and librarian to the duke. Franck was a good poet, and had written excellent masques, besides occasional pieces for weddings, etc.
Pupils
Bach’s fine playing naturally attracted many pupils. In those days there were no Conservatoires or Academies of Music; and pupils were “articled,” as in our own country, to eminent organists, taking much the same place as apprentices in any trade — in fact, they were called apprentices. His first pupil, who was also his amanuensis, was J. M. Schubart; of J. C. Vogler, Gerber says that Bach considered him his best organ pupil. He became Court organist and burgomaster of Weimar.
Another pupil was Joh. T. Krebs, who, however,
did not begin studying till he was married and had already a post as organist at Buttestädt near Weimar, whence he used to walk weekly to Weimar, for seven years, to obtain instruction from Walther, and afterwards from Bach.
Krebs’ son, Joh. Ludwig, became a pupil of Bach at Leipsic at the age of thirteen, and Bach had a very high opinion of him. He received the appointment of organist of Buttestädt. According to Gerber, he was Bach’s pupil and assistant at the harpsichord for nine years, and was second only to Vogler in eminence.
In repayment for his elder brother’s care at Ohrdruf, Bach took charge of his nephew Bernhard31 at Easter, 1715, teaching him the clavier and composition. Bernhard afterwards was appointed organist of Ohrdruf, in succession to his father. Some of his compositions still exist in MS. and show the influence of his uncle.
Bach’s duties at Cöthen did not comprise any organ playing or church music: in fact, he never held an organistship after he left Weimar. The organ of the castle was merely a little chamber instrument, with only thirteen stops, of which ten belonged to the two manuals and three to the pedals.
The Prince was highly cultivated, with a great taste for music, which had been developed by travels in Italy. After the custom of German princes of that time, he became a patron of art, practising it himself. Spitta (vol. ii. p. 3) infers from an inventory in the ducal archives at Cöthen, that he played the violin, gamba, and harpsichord.
There is no sign of there having been a trained chorus at Cöthen. One of the members of the band was Chr. F. Abel, who afterwards became famous as a viola-da-gambist, while his second son Karl Friedrich was the well-known virtuoso on this instrument.
J. Schneider became a pupil of Bach’s at this time. He was a violinist in the band, but afterwards became organist of the Nicolai-church at Leipsic. Bach’s salary here amounted to 400 thalers (about £60); it commenced from August 1, though he remained in office at Weimar until November.
The private performances at the castle were full of zeal for art. The Prince would not part with Bach, even for a short time, and took him on his journeys; Bach reciprocated this feeling, and cherished his memory after his early death. In the Royal Library at Berlin is the autograph of a serenade written for the Prince’s birthday. It is scored for soprano and bass solo voices, string band, harpsichord, two flutes and one bassoon: this being the entire resources available. The words, which are very meagre, are by an unknown author, probably Bach himself. The cantata itself is not published, but its music is used with other words in the Whitsuntide Cantata “Erhöhtes Fleisch und Blut.”32
In May 1718, and again in 1720, Bach and six members of the orchestra accompanied the Prince to Carlsbad. In November 1718 the Prince and his younger brother and sister stood god-parents to Bach’s seventh child, Leopold August, who died in the following year. The fact of so many high personages standing sponsor to this child is a proof of the estimation in which the Prince’s capellmeister was held.
Examines a new organ at Leipsic
Bach’s artistic journeys were continued from time to time, and on December 16, 1717, he found himself at Leipsic again, in response to an invitation to examine a large new organ recently erected in the University Church of St Paul. The builder was Johann Scheibe, and Bach declared it to be one of the best organs in Germany.
Death of first wife
In July 1720, on his return from the second visit with Prince Leopold to Carlsbad, he was met with the terrible news that his wife had died, and had been buried on the 7th of that month. She was only thirty-six, and was in good health when he left her. She had borne him seven children, had been the best of companions, and was keenly sympathetic towards her husband’s work.
Visit to Hamburg
He went to Hamburg to perform a new cantata on the text “He that exalteth himself shall be abased, and he that humbleth himself shall be exalted,” in November 1720. He found Reinken still playing the organ of St Catherine, though now ninety-seven years old. Reinken, though a very great artist, was vain, and jealous, and it was a question how he would receive Bach. Mattheson, who did not love him, said that he was a “constant admirer of the fair sex, and much addicted to the wine cellar of the Council,” though he admitted that he had no equal on the organ in his own style. Moreover, he kept his instrument in excellent tune, and was always talking of it. When Bach came, an appointment was made, and he played for more than two hours, half an hour of which was occupied in a masterly improvisation on the chorale “By the waters of Babylon,” in motet style. After the performance, at which the chief men of the city were present, Reinken came to him, and saying, “I thought this art was dead, but I perceive that it still lives in you,” invited him to visit him, and treated him with every attention. Reinken’s praise was the more complimentary, because he himself had composed and published a very successful arrangement of the same chorale.33
The organ at St Catherine had four manuals and pedal, with an abundance of good reeds, of which Bach was fond (a specification is in Niedt, Mus. Handl. II., p. 176). There was also a posaune, a 32 ft. open diapason, and a mixture of 10 ranks. It dated from the sixteenth century, and had been renovated in 1670 by Besser of Brunswick.34
A still larger instrument was that of St James’ Church in the same city, built by Arp Schnitker between 1688 and 1693, containing sixty stops, four manuals and pedal. The organist of this church, H. Friese, had recently died, and Bach, being tempted by the organ, and the prospect of again having an opportunity of composing cantatas, offered himself for the post.
Competes for a post at Hamburg
There were seven other candidates, the two most important being a son of Vincentius Lübeck, and Wiedeburg, capellmeister to the Count of Gera. An examination was fixed for November 28, the examiners being the elders of the church, together with Gerstenbüttel the cantor, Reinken, and two other Hamburg organists, Kniller and Preuss. Wiedeburg, Lübeck and one other candidate retired. The tests were performances of the two chorales “O lux beata Trinitas,” and “Helft mir Gott’s Güte preisen,” and an extemporised fugue on a given theme.
Deceived
Bach could not wait for the examination, since his duties at Cöthen required him to return home. He was, however, excused having to submit to the test, on account of his great reputation, and arranged to announce by letter whether he would accept the post. He wrote in the affirmative, though the contents of his letter are not known. The committee had his letter publicly read, and then elected an entirely unknown man, J. Joachim Heitmann, who had done nothing for the art of music, but who on January 6, 1721, paid to the treasury of the church four thousand marks, which he had promised in the event of his being elected. The committee came to the conclusion that “the sale of a post of organist should not become a custom, since it pertained to the service of God; but if, after election, a person of his own free will should show his gratitude by money payment, the church should not refuse it.”
Neumeister, a famous preacher, who had not been able to prevent this extraordinary transaction, left the committee in anger. Mattheson thus describes the state of public opinion when it became known.35 “I remember, and no doubt other people still remember likewise, that some years ago a great musician, who since then has, as he deserves, obtained an important appointment as cantor, appeared in a certain town of some size, boldly performed on the largest and finest instruments, and attracted universal admiration by his skill. At the same time, among other inferior players, there offered himself the son of a well-to-do artisan, who could prelude better with thalers than with his fingers, and the office fell to him, as may easily be guessed, although almost everyone was angry about it. It was nigh upon Christmas-tide, and an eloquent preacher, who had not consented to this simony, expounded very beautifully the Gospel concerning the angelic music at the birth of Christ, which very naturally gave him the opportunity of expressing his opinions as to the recent event as regarded the rejected artist, and of ending his discourse with this noteworthy epiphonema: ‘He believed quite certain
ly that if one of the angels of Bethlehem came from heaven, who played divinely, and desired to be organist of St James’ Church, if he had no money he would have nothing to do but to fly away again.’”
Bach had no equal in Germany as an organ player — this was soon admitted on all sides.36 Handel’s fame had reached Germany from England, both as a composer and organ player. Comparisons were made between Handel’s oratorios and Bach’s cantatas and Passion music — the former were widely known, while the latter were hardly yet appreciated, and were forgotten after the death of the composer.
We have a contemporary opinion in Mattheson, who had often heard Handel. “No one,” says he, “can easily surpass Handel in organ playing, unless it were Bach of Leipsic, for which reason these two are mentioned first, out of their alphabetical order. I have heard them in the prime of their powers, and have often competed with the former both in Hamburg and Lübeck.”37 Handel, however, did not devote himself so entirely to the organ and organ compositions as Bach; he left no unaccompanied solos for that instrument. Moreover, it is doubtful if he found instruments of respectable size in England.
Delphi Masterworks of Johann Sebastian Bach Page 64
