The Relationship Between The Employment Situation And Compositional Output Of J.S. Bach
Johann Sebastian Bach, 1685-1750, is renowned for being one of the most recognised and significant musicians and composers of the Baroque era. From 1703-1723, Bach spent much of his time travelling throughout central Germany seeking to improve his status of his employment together with his musicianship. It was only when he moved to Leipzig on May 22nd 1723, that he settled down and he remained there for the rest of his life. The frequent moves Bach made around Germany resulted in him carrying out a range of musically related positions and this variety of work certainly appears to have influenced his compositional output. This is evident from the differing styles of compositions he produced prior to moving to Leipzig.
Bach’s strong religious beliefs had a significant influence on his career, and this is reflected in his work. Bach was a highly skilled organist and it was these specific musical talents that were his main focus in his early working life when travelling across central Germany. Being an organist, it was probably natural that Bach’s early works were predominately for this instrument, although in later life he diversified into composing for a much wider musical range. Initially however, his early career was mainly based around his musicianship rather than his compositions. Based on historical evidence, Bach’s most musically prolific, prominent and interesting period of his working life, was certainly during his time in Leipzig.
With Bach’s Protestant background it was perhaps inevitable that many of his early employment positions were in German churches. He also worked at the Court of Anhalt-Cöthen, which he thoroughly enjoyed mainly due to his positive personal relationship with Prince Leopold. Furthermore, they both shared a passion for a modern style of compositional writing and the Lutheran religion.
Traditional Church music was not however played at the Court of Anhalt- Cöthen and this was in direct contrast to his previous positions. Instead, Bach was encouraged to play cantatas as well as having the opportunity to focus on composing instrumental works. This period turned out to be a significant point in Bach’s musical career as he was encouraged to compose music for individual instruments other than the organ and also for chamber orchestras. In addition, Prince Leopold and Bach travelled on musical excursions around Germany. His role at the Court of Anhalt- Cöthen came to an end however for two principal reasons. Firstly, the Prince’s bride did not like his music and also because the Court’s emphasis on the arts was significantly diminished. This resulted in Bach leaving his position and moving to Leipzig where he remained until his death 27 years later.
Another huge influence on Bach’s career and indeed his compositional output was Dietrich Buxtedude who was an outstanding organist. In 1705, while working for the Church in Arnstadt, Bach was granted permission to attend Buxtehude’s concert in the northern city of Lübeck. Bach was given leave to go to the concert on condition he returned to Arnstadt shortly thereafter, but such was the impression that Buxtehude made on him musically that he remained in Lübeck for several months. On returning to Arnstadt he was disciplined by his employers for not adhering to their pre-arranged agreement. More importantly however, he returned with intriguing and creative ideas for his compositions and he immediately incorporated these new concepts into his Church organ playing. The Church Council, congregation and choir were initially un-impressed with Bach’s experimental work, but soon realised that he was displaying exceptional musical prowess.
It was however his time in Leipzig that was the most musically productive period of his working life. This was where he created most of his pedagogical works. His principal role of employment was with the Council where he held the post of Director of Music at St Thomas’s school where his main duties were as a teacher and musician. This was also the period in his life when Bach produced most of his cantatas. The sacred Cantata 137: Lobe den Herren, den mächtigen König der Ehren which translates as ‘Praise the Lord, the mighty King of honour’, was featured prominently in the Lutheran liturgy of Leipzig.
At an earlier point in Bach’s career and before going to Leipzig, he had written forty-six chorale variations, which were later entitled ‘Orgelbuchlein’, or also known as the ‘Little Organ Book’. Bach used this book of chorales when teaching private students at St Thomas’s and in particular organists, on how to master pedal techniques as well as demonstrating to them the different approaches on how to develop and perform a chorale. Research shows that his compositional output gives a clear vision of the pedagogical mind-set he had, and this is shown throughout his entire collection of masterpieces. An example of this is shown in ‘Bach’s attachment to the German tradition of the 17th century. ’ It is probably beyond any doubt, that Bach’s drive and enthusiasm emanated from his strong religious beliefs. This is established through his great desire to ensure that everything he did in terms of composing and performing was for the ‘…greater glory of god…’.
At that time in history, the social status of composers differed depending on the individual patron’s views and the composer’s views carried less importance. For example, the composer Haydn, focussed solely on composition and so unlike Bach, he was favoured for his composing style. As previously stated Bach was primarily an organist as well as a composer who used experimental styles and techniques. This included introducing counterpoint, which at that time was quite unique. It could be argued that Bach was more popular and indeed successful across Germany than Haydn, as he moved from church to church and people were intrigued by his talents and warmed to his new ideas and concepts. Bach also had the advantage in that he was not restricted to a specific patron and so therefore had the freedom to write and explore extensively. The skills Bach possessed by being a brilliant organist gave him the opportunity to play a range of music of different genres and composers. In particular, he used the influence of French and Italian writing styles and incorporated these into his work. Again, these more complex compositions often confused the Church congregations. Similarly, some people were of the view that as a result of Bach’s unusual writing style, his music was ‘cluttered or forced’ and indeed some people felt that it was even ‘old fashioned’. Most commentators however recognised the immense skills Bach was displaying and his work appealed to many listeners.
Having a duel role as a musician and composer, with the emphasis being mainly on his music teaching, Bach was restricted in his ability to present new, modern compositions. Haydn by comparison, was solely a composer and he was therefore able to solely focus on his compositional work. Furthermore, Haydn was answerable to only one patron whereas Bach had to contend with the Church or Court which was at times musically problematic for him. Haydn was also more financially stable in comparison to Bach whose income was derived mainly from his organ playing and much less from his compositions. This made it difficult for Bach to cope financially and support his growing family. Career prestige, also played a part in Bach’s career, but as he always wanted to increase his teaching related work remuneration, there was at least one occasion when he moved employment to earn more money, but it resulted in less prestige. Following Bach’s death on 28th July 1750, his music was extensively revived, and it soon became hugely popular with a variety of listeners. These ranged from the general public to famous performers and subsequently in the following century with composers such as Mozart, Beethoven and Mendelsohn. His music was almost universally described as modern, intriguing and like nothing they had ever experienced before.
Throughout his life, Bach collected and collated musical ideas from the churches he played for and the concerts he attended and added them to his repertoire. His enthusiasm for music is abundantly clear and his innovative approach in utilising French and Italian styles from composers such as Vivaldi and Corelli and then integrating them within his own compositions was quite unique. Bach’s desire to break down these pre-existing musical barriers enabled him to diversify, expand and indulge in a new, modern approach to his writing. It placed him in an era which made him stand out from his contemporaries of the period. Another approach Bach indulged in was to experiment with harmony and this merely highlighted and enhanced his reputation further.
It is without question that the many employment roles that Bach fulfilled throughout his working life enabled him to develop and hone his musical skills and techniques, and this ultimately resulted in Bach eventually being recognised as a musical genius. Collins inarguably states that “He combined extraordinary contrapuntal skill with a mastery of picturesque and passionate expression. ”
References
- Burkholder et al: 2009: A History of Western Music: 8th edition: New York: W. W. Norton & Company: Page 439. Collins Encyclopaedia of Music: William Collins, Sons and Co. Ltd: Glasgow: Printed in Great Britain.
- Geoffrey Hindley: 1971: The Larousse Encyclopaedia of Music: The United States of America: The Hamlyn Publishing Group Limited: Page 200.
