Story-Lives of Great Musicians | Page 8

a prodigy of genius. No crowd of wondering admirers had
gathered to listen to his childish efforts, and to prognosticate for him
the favours of fame and fortune in the near future. Not even his parents,
loving him as they doubtless did, could have done more than dared to
entertain the hope that he would do honour and credit to the musical
name which he bore ere they sank into their untimely graves, and left
him to fight the battle of life alone. No; the childhood and youth of
Sebastian Bach were stages in the life of a genius which were entirely
destitute of the advantages of either wealth or the patronage of the great,
and as such they command our interest and respect.
Henceforth we have to picture Bach as settled in his Weimar home, no
longer as a student, but as a player and composer whose fame was
gradually spreading throughout the country. So rapid had his progress
been both on the organ and the pianoforte that he was even led to
overestimate his own powers, and one day remarked somewhat
boastingly to a friend that he could play any piece, however difficult, at
sight without a mistake. The friend, disbelieving his statement, invited
him to breakfast shortly afterwards, and placed several pieces on the
pianoforte, amongst them being one which, though apparently simple,
was in reality extremely difficult. He then left the room to prepare
breakfast, and Bach, seating himself at the instrument, began to play
over the pieces. Coming to the difficult work, he struck into it very

boldly, but after proceeding a little way he came to a stop, then tried it
again from the beginning, and once more halted at the same place. His
host then appeared bringing in the breakfast, and Bach, turning to him,
exclaimed, 'You are right. One cannot play everything at sight--it is
impossible!'
In August, 1712, Zachau, the organist of the Liebfrauen-Kirche at Halle,
and Handel's old master, died, and Bach, whose knowledge and
practical skill in the matter of organ construction had now become
widely known, was asked to plan a new instrument for the church. He
accordingly made his plans, and then, induced by the thought of having
a fine organ under his control, he applied for the vacant post. The elders
of the church, having heard a sacred cantata which he composed for the
occasion performed under his direction in the following year, were
most willing to accede to his application, but Bach, fearing that his
independence would be threatened by the conditions attached to the
position, withdrew at the last moment. Nevertheless, so great was the
appreciation in which his abilities were held that when the new organ
was completed he was invited to Halle for the purpose of inspecting it
and testing its capabilities.
In 1714 Duke Wilhelm Ernst raised him to the position of
Hof-Concertmeister--a step which afforded increased scope for the
exercise of his powers. Every autumn for several years he utilised his
leave of absence by journeying to the principal towns in order to give
performances on the organ and clavier, by means of which his
reputation was greatly enhanced. It was on one of these tours that he
found himself in Dresden at a time when expectation was rife
concerning the powers of a remarkable French player who had just
arrived in the town. Jean Marchand, as the Frenchman was named, had
achieved a great reputation in his own country, where, in addition to
filling the post of organist to the King at Versailles, he was regarded as
the most fashionable music-master of the day. His conceited and
overbearing manners, however, had led to his banishment from the
French Court, and he had undertaken a tour in Italy with triumphant
success before coming to the German capital. Bach found everybody
discussing the Frenchman's wonderful playing, and it was whispered

that he had been already offered an appointment in Dresden. The
friends of Bach insisted that he should engage Marchand forthwith in a
contest in defence of the musical honour of his nation, and as Bach was
by no means indisposed to pit himself against the conceited Frenchman,
he gave his consent to the challenge being dispatched. Marchand, for
his part, showed an equal readiness to meet Bach, foreseeing an easy
victory over his antagonist. The King promised to grace the contest
with his presence, and the time and place were duly fixed. It was agreed
that the contestants were to set each other problems to be worked out
on the piano, the victory to be adjudged by the connoisseurs who were
present.
The day fixed for the trial arrived. A brilliant company assembled, and
at the appointed time Bach made his appearance; but his adversary had
not arrived. The audience awaited his