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Sons of J. S. Bach

We now come to the sons of Johann Sebastian. An account of their services to art will be found in C. H. Bitter’s “Die Söhne Sebastian Bachs,” published by Breitkopf and Härtel, 1883. We must be here content with a bare outline of their biographies.

Wilhelm Friedemann Bach (No. 49), born at Weimar, was a pupil of his father and of Graun, concert-meister of Merseburg. He went to the University of Leipsic, where he distinguished himself in law and mathematics. In 1732 he became organist of St Sophia at Dresden, but giving this up, he accompanied his father on his various journeys. In 1747 he became music-director of a church in Halle, and is sometimes called the “Halle Bach.” Quitting this post he lived without employment at various places, and died at Berlin in 1784 in great poverty and misery, having been given to drink.

W. F. Bach as an organist

Fétis and Bitter say he was the greatest organist in Germany after his father, and Forkel states that his “clavier-playing was light, brilliant, and charming,” and his “organ style was elevated, solemn, and full of religious feeling.” He extemporised much but composed little, though some sonatas for clavecin, both solo and with violin, some polonaises, organ-pieces, concertos, fugues, symphonies and cantatas have come down to us.

Johann Christoph (No. 50) died in infancy.

The Berlin Bach

Carl Philipp Emanuel (No. 51) the most celebrated of Sebastian’s sons is called the “Berlin Bach,” having lived in that city for twenty-nine years. He studied at St Thomas’ School at Leipsic under his father, and afterwards joined the University of Leipsic as a student of law, but completed this course of study at Frankfort on the Oder. In 1738 he entered the service of Frederick the Great at Berlin as cembalist. In 1767 he went to Hamburg in succession to Telemann as director of music, after having with great difficulty obtained leave from the Court at Berlin to depart. Here he remained till his death in 1788. He was a prolific composer in all styles. A catalogue of his works is given by Fétis, among the most important of which are those for clavier, and his “Attempt to explain the true art of Clavier-playing,” the first treatise on the subject if we except Couperin’s “L’art de toucher le clavecin.” It describes the method of John Sebastian, from which the present style of piano-playing is developed, and the rules for the execution of the “Manieren”; while in the second part, thorough bass and accompaniment of voices are treated of. He became the greatest theorist of his time, and in his autobiography he says, “In composition and clavier-playing I have never had any teacher but my father.” Hilgenfeldt remarks that he was intended for a learned profession and only studied music as an amateur; but Bitter shows that he was an artist, and was brought up as a practical musician, his scientific studies being secondary to music.

Emanuel’s position in musical history

Emanuel occupies a very important position in the history of music. His period was one of transition. Polyphony had reached its highest point. Oratorio had been developed to its greatest splendour, and organ and clavier-playing had reached their highest development on the old lines. His services to art were that he opened new paths in clavier-music, which made possible the creations of Haydn, Mozart and Beethoven. Bitter considers him the father of that particular kind of form which has been found suitable to the modern piano: viz. the sonata form. His smaller sonata forms were based on those of the preludes in the Wohltemperirte Clavier which are in two sections, and this form was developed by Haydn and his successors. The form is found in the six sonatas of 1742, but it had been used by Krebs in his “Preambles” two years earlier.

Johann Gottfried Bernhard Bach (No. 52) was given the post of organist at Mühlhausen in response to an earnest letter from his father to the authorities. He, however, shortly afterwards went to Jena to study law, and died there in 1739 of a fever.

Leopold August (No. 53) died young.

Gottfried Heinrich Bach (No. 54) is only known as having lived in Leipsic in the year 1754.

Christian Gottlieb Bach (No. 55) lived only three years.

Ernst Andreas Bach (No. 56) died the year he was born.

Johann Christoph Friedrich (No. 57), was called the “Bückeburger Bach” from his holding a post as Chamber musician to Count von Lippe at Bückeburg. He composed oratorios, Passion music, and many other things. He was remarkable for a deep insight into the essence of harmony, and a very good style of clavier-playing, which approached that of his brother Emanuel. He is also mentioned as a man of amiable and upright character.

Johann August Abraham Bach (No. 58) died young.

The English Bach

J. Christian Bach

Johann Christian (No. 59), called the “Milanese” and afterwards the “English” Bach, was born at Leipsic, and at the age of fourteen (on the death of his father), he went to his brother Emanuel at Berlin. When his education was completed he went to Milan, where he worked hard at the composition of songs. His wealth of melody, and the facility with which he produced it, led him to attach himself to the Neapolitan school of composition, the result being shown in a number of works which the greatest singers of his day took as their favourite concert songs. His clavier works were chiefly written for amateur lady pupils, and it has been said that the great increase of clavier dilettanti towards the end of the eighteenth century is to be attributed directly to the influence of Christian Bach.

He composed concertos, operas, oratorios, besides every kind of clavier and other instrumental music in the fashion of the day; “but,” says Schubart, “in the midst of his frivolity the gigantic spirit of his father always shines.” He was organist of Milan Cathedral, and from there went to London, where he remained till his death in 1782. Although he made a large income from his pupils and compositions, he died deeply in debt, and his widow (an Italian prima donna) received a pension from the Queen.

The eight daughters of Sebastian showed none of the musical talent of their brothers, and, with the exception of three, they all died young. One of them married Bach’s pupil Altnikol, of whom we shall hear later. The family gradually died out, and after the sons of Sebastian, none showed exceptional musical ability.

Family meetings

The clan feeling was very strong. It was a family custom to meet together at Erfurt, Eisenach or Arnstadt once a year, and to spend a day in friendly intercourse. The day was begun with the singing of a chorale, after which jokes and all manner of pleasant pastimes were indulged in. One of their favourite pursuits on these occasions was the singing of “quodlibets” consisting of the endeavour to make three or four popular or well-known songs harmonise together, these extempore efforts being intended more as a joke than as serious music.

A Quodlibet

Hilgenfeldt quotes a quodlibet of the sixteenth century of which we give a few bars:

The Lord’s Prayer.

Vater unser im Himmelreich.

The Creed.

Wir glauben all’ an einen Gott.

Easter Song.

Jesus Christus unser Heiland.

Baptism Song.

Christ unser Herr, zum Jordan kam.

The Ten Commandments.

Mensch willt du leben seliglich.