The Worlds Great Men of Music | Page 6

wider outlook now opened for Sebastian Bach, who had all his
young life struggled with poverty and privation. He was now able to
give much time to composition, and began to write those masterpieces
for the organ which have placed his name on the highest pinnacle in the
temple of music.
In his comfortable Weimar home the musician had the quiet and leisure

that he needed to perfect his art on all sides, not only in composition
but in organ and harpsichord playing. He felt that he had conquered all
difficulties of both instruments, and one day boasted to a friend that he
could play any piece, no matter how difficult, at sight, without a
mistake. In order to test this statement the friend invited him to
breakfast shortly after. On the harpsichord were several pieces of music,
one of which, though apparently simple, was really very difficult. His
host left the room to prepare the breakfast, while Bach began to try
over the music. All went well until he came to the difficult piece which
he began quite boldly but stuck in the middle. It went no better after
several attempts. As his friend entered, bringing the breakfast, Bach
exclaimed:--"You are right. One cannot play everything perfectly at
sight,--it is impossible!"
Duke Wilhelm Ernst, in 1714, raised him to the position of
Head-Concert Master, a position which offered added privileges. Every
autumn he used his annual vacation in traveling to the principal towns
to give performances on organ and clavier. By such means he gained a
great reputation both as player and composer.
On one of these tours he arrived in Dresden in time to learn of a French
player who had just come to town. Jean Marchand had won a great
reputation in France, where he was organist to the King at Versailles,
and regarded as the most fashionable musician of the day. All this had
made him very conceited and overbearing. Every one was discussing
the Frenchman's wonderful playing and it was whispered he had been
offered an appointment in Dresden.
The friends of Bach proposed that he should engage Marchand in a
contest, to defend the musical honor of the German nation. Both
musicians were willing; the King promised to attend.
The day fixed for the trial arrived; a brilliant company assembled. Bach
made his appearance, and all was ready, but the adversary failed to
come. After a considerable delay it was learned that Marchand had fled
the city.
In 1717, on his return from Dresden, Bach was appointed Capellmeister
to the young Prince Leopold of Anhalt-Cöthen. The Prince was an
enthusiastic lover of music, and at Cöthen Bach led a happy, busy life.
The Prince often journeyed to different towns to gratify his taste for
music, and always took Bach with him. On one of these trips he was

unable to receive the news that his wife had suddenly passed away, and
was buried before he could return to Cöthen. This was a severe blow to
the whole family.
Four years afterward, Bach married again, Anna Magdalena Wülkens
was in every way suited for a musician's wife, and for her he composed
many of the delightful dances which we now so greatly enjoy. He also
wrote a number of books of studies for his wife and his sons, several of
whom later became good musicians and composers.
Perhaps no man ever led a more crowded life, though outwardly a quiet
one. He never had an idle moment. When not playing, composing or
teaching, he would be found engraving music on copper, since that
work was costly in those days. Or he would be manufacturing some
kind of musical instrument. At least two are known to be of his
invention.
Bach began to realize that the Cöthen post, while it gave him plenty of
leisure for his work, did not give him the scope he needed for his art.
The Prince had lately married, and did not seem to care as much for
music as before.
The wider opportunity which Bach sought came when he was
appointed director of music in the churches of St. Thomas and St.
Nicholas in Leipsic, and Cantor of the Thomas-Schule there. With the
Leipsic period Bach entered the last stage of his career, for he retained
this post for the rest of his life. He labored unceasingly, in spite of
many obstacles and petty restrictions, to train the boys under his care,
and raise the standard of musical efficiency in the Schule, as choirs of
both churches were recruited from the scholars of the Thomas School.
During the twenty-seven years of life in Leipsic, Bach wrote some of
his greatest works, such as the Oratorios of St. Matthew and St. John,
and the Mass in B Minor. It was the Passion according