Johann Sebastian Bach (1685-1750)
German
organist and composer of the baroque era, one of the greatest and most
productive geniuses in the history of Western music. Bach was born on March 21,
1685, in Eisenach, Thüringen, into a family that over seven generations produced
at least 53 prominent musicians, from Veit Bach to Wilhelm Friedrich Ernst Bach.
Johann Sebastian received his first musical instruction from his father, Johann
Ambrosius, a town musician. When his father died, he went to live and study with
his elder brother, Johann Christoph, an organist in Ohrdruf.
Early Years
In 1700 Bach began to earn his own living as a chorister at the Church
of Saint Michael in Lüneburg. In 1703 he became a violinist in the chamber
orchestra of Prince Johann Ernst of Weimar, but later that year he moved to
Arnstadt, where he became church organist. In October 1705, Bach secured a
one-month leave of absence in order to study with the renowned Danish-born
German organist and composer Dietrich Buxtehude, who was then in Lübeck and
whose organ music greatly influenced Bach's. The visit was so rewarding to Bach
that he overstayed his leave by two months. He was criticized by the church
authorities not only for this breach of contract but also for the extravagant
flourishes and strange harmonies in his organ accompaniments to congregational
singing. He was already too highly respected, however, for either objection to
result in his dismissal. In 1707 he married a second cousin, Maria Barbara Bach,
and went to Mülhausen as organist in the Church of Saint Blasius. He went back
to Weimar the next year as organist and violinist at the court of Duke Wilhelm
Ernst and remained there for the next nine years, becoming concertmaster of the
court orchestra in 1714. In Weimar he composed about 30 cantatas, including the
well-known funeral cantata God's Time Is the Best, and also wrote organ and
harpsichord works. He began to travel throughout Germany as an organ virtuoso
and as a consultant to organ builders. In 1717 Bach began a 6-year employment as
chapelmaster and director of chamber music at the court of Prince Leopold of
Anhalt-Köthen. During this period he wrote primarily secular music for ensembles
and solo instruments. He also prepared music books for his wife and children,
with the purpose of teaching them keyboard technique and musicianship. These
books include the Well-Tempered Clavier, the Inventions, and the Little Organ
Book. Bach's first wife died in 1720, and the next year he married Anna
Magdalena Wilcken, a fine singer and daughter of a court musician. She bore him
13 children in addition to the 7 he had had by his first wife, and she helped
him in his work by copying the scores of his music for the performers.
Later Years
Bach moved to Leipzig in 1723 and spent the rest of
his life there. His position as musical director and choirmaster of Saint
Thomas's church and church school in Leipzig was unsatisfactory in many ways. He
squabbled continually with the town council, and neither the council nor the
populace appreciated his musical genius. They saw in him little more than a
stuffy old man who clung stubbornly to obsolete forms of music. Nonetheless, the
202 cantatas surviving from the 295 that he wrote in Leipzig are still played
today, whereas much that was new and in vogue at the time has been forgotten.
Most of the cantatas open with a section for chorus and orchestra, continue with
alternating recitatives and arias for solo voices and accompaniment, and
conclude with a chorale based on a simple Lutheran hymn. The music is at all
times closely bound to the text, ennobling the latter immeasurably with its
expressiveness and spiritual intensity. Among these works are the Ascension
Cantata and the Christmas Oratorio, the latter consisting of six cantatas. The
Passion of St. John and the Passion of St. Matthew also were written in Leipzig,
as was the epic Mass in B Minor. Among the works written for the keyboard during
this period are the famous Goldberg Variations; Part II of the Well-Tempered
Clavier; and the Art of the Fugue, a magnificent demonstration of his
contrapuntal skill in the form of 16 fugues and 4 canons, all on a single theme.
Bach's sight began to fail in the last year of his life, and he died on July 28,
1750, after undergoing an unsuccessful eye operation.
The Bach Revival
After Bach's death he was remembered less as a composer than as an
organist and harpsichord player. His frequent tours had ensured his reputation
as the greatest organist of the time, but his contrapuntal style of writing
sounded old-fashioned to his contemporaries, most of whom preferred the new
preclassical styles then coming into fashion, which were more homophonic in
texture and less contrapuntal than Bach's music. Consequently, for the next 80
years his music was neglected by the public, although a few musicians admired
it, among them Wolfgang Amadeus Mozart and Ludwig van Beethoven. A revival of
interest in Bach's music occurred in the mid-19th century. The German composer
Felix Mendelssohn arranged a performance of the Passion of St. Matthew in 1829,
which did much to awaken popular interest in Bach. The Bach Gesellschaft, formed
in 1850, devoted itself assiduously to finding, editing, and publishing Bach's
works. Because the "Bach revival" coincided with the flowering of the romantic
movement in music, performance styles were frequently gross distortions of
Bach's intentions. Twentieth-century scholarship, inspired by the early
enthusiasm of German-born Protestant medical missionary, organist, and
musicologist Albert Schweitzer, gradually has unearthed principles of
performance that are truer to Bach's era and his music. Bach was largely
self-taught in musical composition. His principal study method, following the
custom of his day, was to copy in his workbooks the music of French, German, and
Italian composers of his own time and earlier. He did this throughout his life
and often made arrangements of other composers' works.
Master of
Counterpoint
The significance of Bach's music is due in large part to
the scope of his intellect. He is perhaps best known as a supreme master of
counterpoint. He was able to understand and use every resource of musical
language that was available in the baroque era. Thus, if he chose, he could
combine the rhythmic patterns of French dances, the gracefulness of Italian
melody, and the intricacy of German counterpoint all in one composition. At the
same time he could write for voice and the various instruments so as to take
advantage of the unique properties of construction and tone quality in each. In
addition, when a text was associated with the music, Bach could write musical
equivalents of verbal ideas, such as an undulating melody to represent the sea,
or a canon to describe the Christians following the teaching of Jesus. Bach's
ability to assess and exploit the media, styles, and genre of his day enabled
him to achieve many remarkable transfers of idiom. For instance, he could take
an Italian ensemble composition, such as a violin concerto, and transform it
into a convincing work for a single instrument, the harpsichord. By devising
intricate melodic lines, he could convey the complex texture of a multivoiced
fugue on a single-melody instrument, such as the violin or cello. The
conversational rhythms and sparse textures of operatic recitatives can be found
in some of his works for solo keyboard. Technical facility alone, of course, was
not the source of Bach's greatness. It is the expressiveness of his music,
particularly as manifested in the vocal works, that conveys his humanity and
that touches listeners everywhere.
|
|