Bach the Capellmeister

As Capellmeister, Bach was in charge of all musical matters at the court of Cöthen. Although the prince’s Reformed religious faith ruled out the performance of church cantatas, Bach did compose occasional vocal works for special occasions. His chief works of this period, however, were suites, sonatas, and concertos for the court instrumental ensemble, as well as keyboard music for his family and pupils. Among the famous compositions composed or completed at Cöthen and discussed in this chapter are the inventions, Well-Tempered Clavier, organ sonatas, cello suites, sonatas and partitas for violin and flute, and Brandenburg Concertos.

Bach the Concertmaster

Bach’s title as concertmaster was new in the early eighteenth century; at Weimar it implied direction of the court music ensemble, at least in the new vocal works that Bach was now expected to produce every four weeks. Beginning in 1714 he composed several dozen church cantatas on a regular basis, including BWV 182, 12, and 31. These were preceded by a handful of significant vocal works, among them the “Hunt Cantata” (BWV 208). But the greatest number of compositions from this period are for organ and keyboard, including the “Great Eighteen” chorales, the “Dorian” toccata and fugue, transcriptions of concertos, and the Chromatic Fantasia, all discussed in this chapter. Also considered is the influence of Telemann on Bach and his compositions.

Cöthen (1717–1723)

At the end of 1717 Bach moved to Anhalt-Cöthen (Köthen) as Capellmeister to the ruling prince. His years there, often described as his happiest, saw growing recognition as a musician and frequent travel, to Hamburg, Berlin, and elsewhere. They also saw the death of his first wife, but Bach soon remarried, to Anna Magdalena Wilcke, a court singer with whom he would perform regularly. Reductions in court spending on music may have led Bach to contemplate moving again, and much of his last year at Cöthen was overshadowed by his successful application for and ensuing negotiations concerning his appointment as cantor at Leipzig.

Weimar (1708–1717)

Bach returned to Weimar as organist to the ducal court there; in 1714 he was promoted to the new position of concertmaster. As such he apparently presided over performances in the court’s distinctive chapel. The presence of two reigning dukes at Weimar led to conflicts; Bach was initially favored by the senior ruling duke but was passed over for promotion to Capellmeister and even jailed prior to his dismissal. Nevertheless, during these years Bach composed many of his great organ and vocal works, also becoming a notable teacher. He also saw the birth of his first children, including the future composers W. F. and C. P. E. Bach.

Legacy

Bach’s succeessor Harrer was already installed as cantor and music director at Leipzig, instituting a new musical repertory, by the time Bach’s estate was divided between his heirs several months after his death. This chapter considers Bach’s material legacy as well as the family, students, and music that he left behind. His possessions included musical instruments and books, as well as musical scores and parts that were distributed among his survivors. Three of his sons were important composers, directly influencing later ones such as Mozart. Indirect influence of later musicians, such as Beethoven and Chopin, stemmed especially from the dissemination and eventual publication of Bach’s works during the so-called Bach Revival, which began in the early nineteenth century.

Bach the Music Director

At Leipzig Bach held a double position as cantor in the St. Thomas School and music director for the city as a whole. The first was primarily educational; the second included not only composition of cantatas for the two main churches but oversight of all music in the city. This chapter examines Bach’s official work as cantor and music director as well as his growing frustration and conflicts in those capacities (as evidenced in his “Entwurf”)—and the resulting shift toward greater participation in secular music making with the Collegium Musicum. After describing his routines for producing some 150 surviving church cantatas from this period, the chapter examines selected examples, including BWV 105, 78, 103, 56, 82, 51, and 140. Also discussed are secular works, including BWV 201 and the Coffee Cantata, and the motets.

Bach the Organist

Bach’s duties as a Lutheran church organist included “preluding” on chorale (hymn) melodies and maintaining instruments. At Arnstadt Bach must also have been expected to accompany singers both at court and in church, and during these years he also carried out organ “tests.” It is unknown whether he wrote any vocal compositions at Arnstadt, but he doubtless wrote much keyboard music and developed his organ technique during these years. Compositions examined in this chapter include chorale preludes and praeludia (preludes and fugues), as well as the great Passacaglia for organ and several vocal works (cantatas) probably performed at Mühlhausen, including the so-called Actus tragicus.

Arnstadt, Mühlhausen (1703–1708)

Bach’s first significant professional positions were as organist at Arnstadt and Mühlhausen. The first was a courtly residence town, the second a larger free city. His years at both must have been pivotal for his development as both organist and composer. They also saw his first marriage, to Maria Barbara Bach, and an extended trip to Lübeck where he encountered the music of Buxtehude. If by then he was not already composing prolifically, with the works of the next few years he established himself as one of Germany’s most original young composers of keyboard music, and during his brief time at Mühlhausen he also produced several impressive vocal works. During the same period, however, a confrontation with the Arnstadt authorities left him unscathed but was a harbinger of future tensions with employers.

Early Years (1685–1702)

Bach was born into a family of musicians who worked for both small regional courts and local city governments. The deaths of both his parents forced him to move as a child from Eisenach to Ohrdruf, where he continued his study of music with an older brother. While still a teenager he traveled across Germany to Lüneburg as a scholarship student before receiving his first, briefly held, court appointment at Weimar. Contacts with Böhm, possibly Pachelbel, and other important musicians helped prepare him by the age of eighteen for a career as a virtuoso organist.

Bach the Teacher

This chapter examines the works of Bach’s later years, including several published collections, in the context of his teaching. The latter, considered in its broadest sense, included not only instruction in the St. Thomas School but private lessons and mentorship for university students and younger professional musicians. To these activities Bach added the revision and publication of compositions that could serve as examples for study and emulation. Among the latter are the four volumes of Clavierübung, including the harpsichord partitas, Italian Concerto, and Goldberg Variations; the Schemelli Chorales and Canonic Variations for organ; and the Musical Offering and Art of Fugue. Also instructive, in a profound sense, are the great vocal works of these years: the passions, oratorios, and Latin church music, including the B-Minor Mass.