Lesson Three: Johann Sebastian Bach
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Send E-Mail to InstructorTime Machine (1685 - 1750)--------------------------Lesson Three: Johann Sebastian Bach--------------------------Glossary of Musical TermsRegister for New CourseReturn to Home

Who was Johann Sebastian Bach? (1685-1750). Baroque organist and composer, represented the high water mark in the history of Western music.

Historical context. Martin Luther nailed his 95 theses to the Wittenberg Door in 1517 thus launching the Protestant Reformation. At its core was the teaching that salvation rests completely in reliance (faith) on Christ's death to release the believer from the consequence of his sin -- eternity in Hell. Pardon is bestowed a free gift as part of a judicial transaction to which man can contribute nothing because his sin renders him guilty and powerless (Romans 5:8). It is, however, a marvelously liberating message that imparts a sense of joy in reconciliation to God, of ultimate meaning in eternity, and of a purposeful destiny and calling in the here-and-now.

These ideas eventually and inevitably found expression in the cultural vehicles of art and music, which crested in the Baroque period, running from roughly 1600 to the death of Bach in 1750. "Baroque" is a Portuguese word meaning "a pearl of irregular shape". In music this included an emphasis on variety and contrast, bass carrying the melody (basso continuo) and a belief in the "doctrine of the affections." The latter was the notion that particular musical techniques evoked corresponding emotions based on a set of musical rules. A well-crafted musical composition, like a well-crafted story, will build to a crescendo and then conclude with a sense of resolution. Baroque art developed under the leadership of the Flemish masters Vermeer and Rembrandt during this same period.

Summary of Bach's work. The life of Johann Sebastian Bach, which represented the culmination of the Baroque era, is a story of musical genius rising from a well-spring of biblical faith. Both the music and the message of Bach's work expressed that faith. Each piece he wrote was signed "to the glory of God" or "With the help of Jesus". He drew much of his inspiration from the Lutheran hymn book compiled by Martin Luther over 150 years earlier. Some of his work was even performed in Wartburg Castle, the very place in which Luther had translated the German New Testament during his year of captivity. Most of Bach's instrumental work was composed for the organ and he was in great demand as a consultant to organ builders all over Germany.

Inspired during a prolonged journey by foot to listen to the great organist, Dietrich Buxtehude, Bach gained early reknown as court organist for the Duke of Weimer. His organ work of this period exemplifies the Baroque ideal of a prelude, toccata, or fantasia combined with a fugue. A Toccata is a free-style keyboard piece in which the keys are deftly "fingered" with great dexterity. A fugue is a technique by which a theme is introduced in an opening exposition, then answered in an imitative counterpoint. As you listen to this segment of Bach's Toccata in D minor, notice the skill with which the fugue is interwoven with sections of free fantasia, or innovation. At Weimer he began to study and incorporate elements of the concise Italian style with the German to create the unique "Bachian Style."

After being imprisoned for a month in a futile attempt to detain him, Bach assumed the position of court conductor for the Prince of Cothen in 1717. The next six years are known as Bach's "Secular Period" because of resistance to artistic music in the Calvinist church he attended. The international style mentioned above was perfected at Cothen in his Six Concertos, in which a solo instrument is contrasted with the orchestra. Here also he wrote The Well-Tempered Clavier, consisting of 24 preludes and fugues, one in each of the minor and major keys. Presented here is a segment of one of his famous Clavier (keyboard) works known as the Goldberg Variations. Take note of the manner in which the introductory theme is repeated twice in altered form during the first variation.

In 1723 Bach made his final move to Leipzig, where he served as cantor (song leader) at the St. Thomas Church until the end of his life. The heart of his work at Leipzig consisted of some 300 Cantatas for chorus and orchestra, of which about 200 survive. These combine music, history and Scripture. For example, in the second recititive (link between arias) of Cantata #61 the words of Christ knocking at the door of his church in Revelation 3:20 are repeated. In the answering Aria (melodious song) the repentant sinner opens her heart to receive the Savior.

Implications for subsequent history. In many ways Bach represents the zenith of musical development -- the development of music under the leadership and inspiration of the church. No matter how much Bach wandered into innovative diversity he always returned to a point of culmination and rest. His compositions move forward with a sense of purpose and direction, not simply to craft a mood, but rather to communicate a message. Bach was free to improvise and create within a well-defined set of musical rules. This was an expression of the life of order and meaning given to Bach by his Christian faith, in contrast, to the dissonance and sense of suspension created by later musicians. In this sense, musical development has been downhill since Bach.

Biblical analysis. Some of Bach's final works capture his attitude toward life and death as a Christian believer. In Come Sweet Death he expressed the strange mixture of fear and faith he experienced as the curtain of his life began to fall. The victory of his indomitable Christian faith may be heard in his last triumphant chorale, composed on his death bed: Before Thy Throne I Now Appear.