Art and Science: or Bach as an Expositor of the Bible
For a long time before dramatic recent events it has been clear that the German Democratic Republic has been in die position, embarrassing to a Marxist system, of having nothing generally marketable left except (to use the jargon) ‘superstructure’. The Luther celebrations conveniendy bolstered the implicit claim of the GDR to embody Saxony’s long-delayed revenge upon Prussia; still more conveniendy, they paid handsomely. Even the Francke celebrations probably paid their way, ruinous though his Orphan House has been allowed to become. When I was in Halle, a hard-pressed government had removed the statue of Handel (originally paid for in part by English subscriptions) for head-to-foot embellishment in gold leaf, and a Handel Festival office in the town was manned throughout the year. Bach is still more crucial, both to the republic’s need to pay its way and to the competition with the Federal Republic for the possession of the national tradition. There is no counterpart in Britain to the strength of the Passion-music tradition in East Germany. The celebrations which reach their peak in Easter Week at St Thomas’s, Leipzig, are like a cross between Wembley and Wimbledon here, the difference being that the black market in tickets is organized by the State for its own benefit. If Bach research in East Germany, based either on musicology or the Church, has remained an industry of overwhelming amplitude and technical complexity, the State has had its own Bach-research collective located in Leipzig, dedicated among other things to establishing the relation between Bach and the Enlightenment, that first chapter in the Marxist history of human liberation. Now that a good proportion of the population of the GDR seems bent on liberation by leaving the republic or sinking it, the moment seems ripe to take note for non-specialist readers of some of what has been achieved there in recent years.