Scan 59
Baker S Biographical Dictionary Of Musicians Third Edition, 1919
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1similar manner, the principal organs in Potsdam, finally improvising a 6-part fugue on a theme proposed by the king. On his return to Leipzig he wrote a 3-part fugue on this theme, a Ricercare in 6 parts, several canons inscribed Thematis regii elaborationes canonicae, and a Trio for flute, violin and bass; dedicating the whole to Frederick as a Musikalisches Opfer.—Bach was nearsighted from childhood, and later his eyes showed symptoms of weakness, probably due to the strain of his youthful night-labors; in 1749 an unsuccessful operation resulted in total blindness, and his hitherto robust health also declined. His sight was suddenly restored on July 10, 1750; but ten days later, stricken by apoplexy, he died. He worked to the end, dictating the chorale Vor deinen Thron tret' ich hiermit, his last composition, a few days before his death.
3Clearness and acuteness of intellect, strength of will, irresistible persistency, a love of order, and a high sense of duty, were his leading characteristics. His home-life was of the happiest description. Among the long list of his distinguished pupils were Johann Ludwig Krebs, Gottfried August Homilius, Johann Friedrich Agricola, Philipp Kirnberger, Johann Theophilus Goldberg, Marpurg, Joh. Kaspar Vogler; also his own sons Wilhelm Friedemann, Karl Philipp Emanuel, and Johann Christoph Friedrich, for whose instruction he wrote the Clavierbuchlein and the Kunst der Fuge. He engraved several of his own works on copper; invented the 'viola pomposa' (an instrument between viola and 'cello), and a 'Lauten-Clavicembalum' (a clavichord with catgut strings); he promoted the adoption of the tempered system of tuning keyboard stringed instrs.; and introduced the style of fingering which, with comparatively few modifications, is still in use.
5Bach's compositions mark an epoch. They are a fusion of two eras—the polyphonic contrapuntal (thematic development by strict and free imitation) and the harmonic tonal (chord-combinations founded on the modern system of major and minor keys). His originality and fecundity of thematic invention are astounding; moulded with his consummate contrapuntal art, and the freedom born of full mastery, polyphonic structures were reared which will be the admiration of ages. His style is elevated, and of sustained individuality in melody, rhythm, and harmony; the momentum of his grand fugues is inexorable as the march of Fate. As an inexhaustible mine for study, the complete critical edition published 1851–1900 in 60 volumes by the 'Bach-Gesellschaft,' a society founded in 1850 by Schumann, Otto Jahn, Hauptmann, K. F. Becker, and the publisher Härtel, demands special recognition. The Schirmer Complete Edition of Bach's Organ Works, in 8 volumes, ably edited by Charles-Marie Widor and Dr. Albert Schweitzer (5 vols. publ. up to 1916; the others delayed by the European war), with voluminous Notes and directions for playing, is unique. The Peters' edition of B.'s works is also valuable. Few of them were publ. during his lifetime; Mizler's 'Musikalische Bibliothek' (1754) contains an almost complete catalogue. Bach's importance was but meagerly appreciated by his contemporaries, and for half a century after his death he was practically ignored. Some few works were then occasionally performed, or even published; but Mendelssohn, by a performance of the St. Matthew Passion at Berlin, in 1829, first drew general attention to the great value of Bach's comps. The centenary of his death (1850) was marked by the formation, at Leipzig, of the 'Bach-Gesellschaft.' 'Bach-Vereine,' societies for the cultivation and production of B.'s music, exist at Leipzig, Berlin, London, and in many other European cities.
7Works: Vocal: The 5 sets of sacred Cantatas for every Sunday and feast-day, already mentioned, besides several special ones, e. g., Gottes Zeit ist die beste Zeit, and the Trauerode on the death of the Electress of Saxony; 5 Passions, including the gigantic St. Matthew, the St. John, and the doubtful St. Luke; a Christmas Oratorio, in 5 parts; Grand Mass in B m., and 4 smaller do.; motets; 2 Magnificats; 5 Sanctus; many secular cantatas, including two comic ones.—Instrumental: Very numerous pieces f. pf. (i. e., clavichord):—Inventions in 2 and 3 parts; 6 'small' French suites; 6 'large' English suites; Preludes and Fugues, including the Wohltemperirtes Clavier in 2 parts with its 48 Preludes and Fugues in all keys (cf. art. BUSONI); pf.-sonatas w. one or more instrs., among them the famous 6 sonatas for pf. and vln.; solo sonatas f. violin and 'cello; solos, trios, etc., etc., for different instrs. in various combinations; concertos for 1 to 4 pfs.; violin and other instrl. concertos with orchl. overtures and suites; and many organ comps. (fantasias, toccatas, preludes, fugues, and chorale-arrangements).
9BIBLIOGRAPHY.—A. BIOGRAPHICAL: B.'s earliest biographers were his son, K. Ph. E. Bach and J. F. Agricola in Mizler's 'Musikalische Bibliothek' (Leipzig, 1754; IV, I. pp. 158-76); J. N. Forkel, Uber J. S. B.'s Leben, Kunst u. Kunstwerke (Leipzig, 1802; Engl. transl. by Wesley, London, 1820; Fr. transl. by Grenier, w. notes, Paris, 1876); C. L. Hilgenfeldt, B.'s Leben, Wirken, u. Werke (1850); C. H. Bitter, J. S. B. (2 vols., Berlin, 1865; 2d ed., 4 vols., 1880); Ph. Spitta, J. S. B. (2 vols., Leipzig, 1873-80; Engl. transl. by C. Bell and J. A. Fuller-Maitland, 3 vols., with many additions,
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