Why Bach Moves Us

GeorgeB.Stauffer

FEBRUARY20,2014ISSUE

Bach:MusicintheCastleofHeaven
byJohnEliotGardiner
Knopf,629pp.,$35.00

Oneofmymostmovingencounterswiththe
musicofJohannSebastianBachtookplace
inthespringof1997inNewYorkCitys
CentralSynagogue.Iwastheretopaylast
respectstoGabeWiener,atalentedyoung
recordingengineerwhodiedofabrain
aneurysmatagetwentysix.Ihad
approachedGabeearlierintheyeartoseeif
hisrecordingcompany,PGMClassics,
wouldconsidercollaboratingwiththe
AmericanBachSociety,whichIledatthe
time,toproduceacompactdiscof
previouslyunrecordedorganmusicfrom
Bachscircle.Gabeenthusiasticallyagreed
WilliamH.Scheide,Princeton,NewJersey
totheproposal,andtogetherweembarked
JohannSebastianBachpaintingbyElias
GottlobHaussmann,1748
onaprojectwecalledTheUncommon
Bach.Wehadjustsettledontherepertory
andtheorganwhenIreceivedwordofhisdeath.
Therewasgreatlamentingatthememorialservicethatthistalentedyoungman
hadbeensnatchedawayinthemidstofimportantwork,withsomuchpromise
unfulfilled.TheservicebeganwithGabesrecordingofSalamoneRossis
HebrewsettingoftheSongsofSolomon,agorgeousyetrelativelyunknown
Venetianmasterpiece.ItcontinuedwithreadingsfromtheTorah,eulogies,and
theKaddish.Butatthecenteroftheservice,atwhatprovedtobetheemotional
highpoint,acountertenorsangtheAgnusDeifromBachsMassinBMinor.
TheAgnusDeiisoneofBachslastcreations,derivedfrommusichehadused

twicebefore,in1725and1735,withdifferenttexts.Hewasclearlypleased
withthehighlyeffectivearia,andin1749herefineditafinaltimeforinsertion
intotheconcludingportionoftheBMinorMass.Timewasrunningout.The
cataractsthathadplaguedhiseyesightforsometimewererapidlyadvancing,
andtheAgnusDeiwasoneofthelastpieceshecompletedbeforesubmittingto
theeyeoperationsthatledtohisdeath.Bachnormallyexpandedmusicwhen
hereviseditforfurtheruse,butinthisunusualcaseheshortenedtheoriginal,
distillingitsemotionalandmusicalessenceandcreatinganew,intensified
versionofthepiece.Hehadlessthanayeartolive.

AsthesingerintonedtheancientLatintextAgnusDei,quitollispeccata
mundi,misererenobis(LambofGod,whotakethawaythesinsoftheworld,
havemercyuponus)enhancedbyapoignantunisonviolinlineand
anguishedpauses,Icouldnothelpbutmarvelatthemiracleofhearingthis
musicfromtheRomanCatholicLatinMassOrdinary,writtenbyaLutheran
composerinLeipzig,inaReformJewishtempleinNewYorkCity.Afterward
IaskedPeterRubinstein,theseniorrabbiofCentralSynagogue,whyhepicked
thisparticularworkratherthansomethingfromtheJewishrepertory.We
choseBachsAgnusDei,hereplied,becauseitwastherightpiece,indeed
theonlypiececapableofexpressingtheinexpressibletheanguishwefeel
overtheinexplicablelossofyoungGabeWiener.
JusthowBachmanagedtoexpresstheinexpressible,especiallywithregardto
death,andwhatlifeexperiencesstoodbehindhiscompositionaldecisionsare
atthecenterofalivelynewbookbythedistinguishedBritishconductorJohn
EliotGardiner.SteppinginaspresidentoftheLeipzigBachArchiveatthe
beginningofthisyear,Gardinerhasdevotedhislifetotheperformanceof
Bachsvocalworks(hehasconductedthemall),andthebiographicalgapshe
seekstocloseinhislengthystudyhaveperplexedBachscholarsformorethan
twohundredyears.

UnlikeMozart,Beethoven,andotherclassicalcomposersforwhompersonal
lettersabound,Bachleftbehindlittlecorrespondence.Heneverwrotean
autobiographicalsketch,eventhoughhewasinvitedtodososeveraltimes,and
inonlythreeinstancesajobinquirytoanoldschoolchum,aconcerned
exchangewithtownofficialsoverthemisdemeanorsofhissonJohann
GottfriedBernhard,andunderliningsandmarginaliainhisCalovBibledoes
heofferaglimpseofhisinnerself.Alltherestmustbepiecedtogetherfrom
councilrecords,payreceipts,anecdotes,briefprintednotices,acarefully
wordedobituary,andotherscrapsofinformation.Bachscharacterhas
remainedlargelyhiddenfromview.
Asaresult,biographershavebeenforcedtofendforthemselves,frequently
reimaginingBachthroughtheprismoftheirownlifeandtimes.Johann
NicolausForkel,apassionatekeyboardplayerandGermannationalist,first
portrayedBachin1802asavirtuosoorganistandharpsichordistandmodel
citizenforGermanysrisingmiddleclass.Laterinthecentury,PhilippSpitta,
bornintoafamilyoftheologiansandleaderoftheLutheranchurchmusic
revival,portrayedBachastheFifthEvangelist,vigorouslyspreadingthegospel
throughhisLutherancantatas,motets,andPassions.Andmorerecently,
ChristophWolff,formerdeanoftheGraduateSchoolofArtsandSciencesand
UniversityProfessoratHarvard,presentedBachasalearnedmusician,an
intellectworthyofSirIsaacNewtonandatownmusicdirectorwellacquainted
withthefacultyoftheuniversityinLeipzig.*
Itisnosurprise,then,thatGardinerproposesyetanotherimageofBach.
Movingbeyondthehagiographiesofthepast,hepresentsafallibleBach,a
musicalgeniuswhoontheonehandisdeeplycommittedtoilluminatingand
expandingLuthersteachingsthroughhissacredvocalworks(andtherefore
comesclosetoSpittasFifthEvangelist),butontheotherhandisarebellious
andresentfulmusician,harboringalifelonggrudgeagainstauthoritya
personalitydisorderstemmingfromayouthspentamongruffiansandabusive
teachers.HidingbehindBach,creatoroftheMatthewPassionandBMinor
Mass,Gardinersuggests,isBachthereformedteenagethug.Inthepreface
weread:Emphatically,Bachthemanwasnotabore.NeitherisGardiner.
GardinerdrawsonthemostrecentfindingsoftheBachArchiveresearchteam,
especiallyMichaelMaulsimportantstudyoftheSt.ThomasChoir.This
materialwasnotavailabletopreviousbiographers.Buthebelievesthekeyto
unlockingBachsconcealedcharacterliesinthemusicitself,theanchorto
whichwecanreturnagainandagain,andtheprincipalmeansofvalidatingor
refutinganyconclusionaboutitsauthor.Inthissensehisapproachresembles
thatusedforShakespeareinWillintheWorldbyStephenGreenblatt,who

calledonpassagesfromtheBardsworkstofleshoutanotherwiseskeletal
biography.ThechiefdifferenceisthatGreenblattconsideredalltheplaysand
sonnets,whereasGardinerlimitshimselftoBachsvocalworksarestriction
thatraisesproblems.
WhileitsdifficulttoimagineacontroversialBachbiography,giventhe
overalllackofdocumentarymaterial,Gardinersreappraisalcomesclosetoit.
Forinstance,inevaluatingBachsinitialyearsinEisenach,wherehewasborn
in1685,pastbiographershaveattributedhisschoolabsencestodomestic
problems:illnessesandthedeathsofBachsparents,leavinghimanorphanat
ageten.Gardinersuggestsinsteadthattheabsencesmayhaveresultedfroma
negativeatmosphereinaschoolandtownfilledwithrowdy,subversive,
thuggishboys.EarlierwritershaveviewedBachssubsequentstaywithhis
olderbrotherJohannChristophinOhrdrufasaperiodofacademic
accomplishment,withBachachievinggoodgradesandhighclassstanding
undertheprogressiveeducationalreformsofJanAmosComenius.Here
GardinerseesasinisterelementinthedismissalofcantorJohannHeinrich
Arnold,reportedlyforbullying,sadismandsodomy.MightBachhavebeen
avictimofArnolds?Gardinerasks.
Atagefifteen,BachmovednorthtoLneburg,wherehesangintheSt.
MichaelsMatinsChoir,studiedorganwithGeorgBhm,andmadetripsto
HamburgtoobservethegreatNorthGermanorganistJohannAdamReincken.
InthisinstanceGardinerpointstotheturfwarsoftheLneburgprefectsover
serenadingrights,creatinggangclashesfoughtbyembryonicJetsand
Sharks.
GardinerconcludesthatBachwasbredenbawninabrierpatchlikeBrer
Rabbit,andthatthisthornyupbringingsetthestageforatroubledprofessional
life.ThusBachsstayinArnstadt,wherehereallyshowedthefirstfruitsof
hisapplicationtotheartoforganplayingandcomposition,accordingtohis
formalobituary,becomesabattlegroundwitharowdy,intractablestudent
choirandalocalculturalmilieuthatwasnotsympathetictohim.Bachsnext
post,Mhlhausen,wherehewrotecantatasofremarkablebeautyand
invention,wasplaguedbyconditionsthatprevented[him]fromdoing
anythingworthwhile.AndWeimar,wherethepleasurehisGracetookinhis
playingfiredhimwiththedesiretotryeverypossibleartistryinhistreatment
oftheorgan,accordingtotheobituaryonceagain,isalsoviewedasaperiod
ofunendingconflictwithhisemployers.

AllthisbuildstoBachsarrivalinLeipzigin1723,whereGardinerseesthe
wellknownsquabbleswithmembersoftheTownCouncilastheultimate

consequenceofemotionalwoundsfromatroubledyouth:
Thestrongimpressiononegetsisofamanalmostconstantlyatoddswith
someoneorsomething.Itshouldnotsurpriseus,then,ifwefindthatthese
lifelongproblemswithangerandauthoritywereincubatedinthe
unsavouryatmosphereandenvironmentofhisearlyschoolingandin
childhoodtraumas.
ThisapproachreachesaclimaxwhenGardinerreadsahiddenagendaintothe
Leipzigcantatas.HequestionswhetherCantata178,withitsdire,sibyllike
moodofwarningagainsthypocritesandprophets,wasBachswayof
channelinghisfrustrationandvituperativeenergyintohismusicandthen
watchingasitraineddownfromthechoirloftontohischosentargetsbelow.
Morethanthat,hecharacterizestheariaWeicht,allihrbeltter(Begone,
allyouevildoers!)fromCantata135asangrymusicexecutedwithapalpable
fury,withBachfumingatdelinquentmalefactors.Thisbeginstosoundlike
SusanMcClarysinfamousportrayalofBeethovensNinthSymphonyasthe
throttling,murderousrageofarapistincapableofattainingrelease.
Allthismakesforlivelyreading.Butwhatarewetomakeofit?
ItseemstomethatforBachsformativeyearsandprofessionalpositions
leadinguptohisappointmentinLeipzig,themusicisindeedourbest
indicationofhispersonality.ByexcludingBachskeyboardandinstrumental
piecesfromdiscussion,however,Gardinerdisregardstellingevidencethathe
himselfdeemscriticalforunderstandingBachscharacter.Forexample,he
mentionstheastonishingorgantablatures,discoveredonlyin2005,ofworks
byReinckenandDieterichBuxtehudethatBachwroteoutwhenhewas
betweenthirteenandfifteenyearsold.ButGardinerdoesntacknowledgewhat
theytellus.Theneat,meticulous,almostflawlessnotationpointstoa
disciplined,methodical,welltrainedteenagerdeeplycommittedtolearninghis
craft.Andthemusicsuggestsaprodigyeagertotakeonthemosttechnically
challengingorganmusicofthetime.Thisdoesnotseemtosquarewiththe
imageofawild,unrulyboyrunningaroundOhrdrufandLneburgwith
hoodlums.
AndinCthen,characterizedbyGardinerasaprovincialbackwater,Bach
neverthelessmanagedtoproducetheBrandenburgConcertos,thesoloviolin
andcellopieces,andotherinstrumentalandkeyboardworksthatrevealhis
completeembraceofdancemusic,perhapsthemostimportantinfluenceonhis
maturestyleotherthanhisadoptionofVivaldismusicinWeimar.Aquick
comparisonofWellTemperedClavier,volume1,withWellTempered
Clavier,volume2,ortheWeimarcantataswiththeLeipzigcantatasshows

howcriticaltheformaluseofdanceattheCthencourtwastoBachseventual
formulationofapowerfullyengaginguniversalstyle.Cthenmayhavebeena
pettycourt,comparedtothoseinBerlinorDresden,butforBachthestaythere
wasalifealteringexperience.

Sothebys

TheThomasschuleandThomaskircheinLeipzig,whereBachwasthechoirdirectorfrom1723untilhisdeathin
1750paintingbyFelixMendelssohn,1838

ThetruthaboutBachspersonalityprobablyrestssomewhereinthemiddle.
ThepictureofBachashumbleLutheranservantofGod,modelchild,andfully
matureadultisundoubtedlytoosaccharine.Theargumentswithtowncouncils
showastrongwillandpricklytemperament,andhisprivatebiblicalexegesis
suggestsinnerresentment.Gardineristobeapplaudedforyankingusbackto
reality,forunderscoringthattheyouthfulpranksmentionedbyC.P.E.Bach
mayrefertoalessresponsiblesideofhisfather.Butthelettersoffamily
amanuensisJohannEliasBach,describingacantorshomefilledwithvisitors,
carnations,andcanaries,suggestawarmdomestichavenratherthanthelairof
anangryyoungman.

TheobsessivesearchforBachsdarksidesubsidesinthesecondhalfofthe

book,whenGardinerarrivesatthemusicheknowsandlovesbest,theLeipzig
vocalworks.Herethetonebrightens.
Bachsdecision,uponbecomingcantorofSt.Thomas,toprovideanew
cantataforeachSundayandfestivaldayofthechurchyearwasthemost
momentouscompositionaldecisionofhislife.Itwascommonatthetimefor
cantorstoproduceannualcantatacyclesofapproximatelysixtyworkseach.
GeorgPhilippTelemann,writerof1,700cantatas,andChristophGraupner,
with1,400tohiscredit,couldshakechurchpiecesoutoftheirsleeves,anditis
nosurprisethattheywereofferedtheSt.ThomaspositionbeforeBach.But
Bachswritingwasmuchmoresubstantiveandintense,andthecommitmentto
weeklycantatacompositionduringhisinitialLeipzigyearswasadaunting
personalchallenge.Hehadonlyamodestsupplyofearlierworks.Hehadno
professionalcopyistsathisdisposal.Hehadnomorethanamotleybandof
singersandinstrumentalists.
Theweeklyroutineofcantataproductionmusthavebeenarduous:composing
athirtyminutework,overseeingthepreparationofperformanceparts,
rehearsingthescore,andfinallyperformingthemusicone,two,oreventhree
times,dependingontheSundayorfeastdayinquestion.Evenmore
remarkablewasthemultiyearcommitment:thesteadyproduction,weekinand
weekout,withPassions,oratorios,andLatintextedworksaddedatthehigh
pointsofChristmas,Easter,andPentecost.TheobituarystatedthatBach
composedfiveannualcycles,makingatotalofapproximatelythreehundred
cantatas.Onlytwohundredorsosurvive.
GardinersdirectionoftheBachPilgrimage,theperformanceofthe
completecantatasinliturgicalorderduringthecourseof2000,giveshima
uniqueinsidersfeelforBachsvocalmusicandtherhythmofanannualcycle.
Hiswalkthroughoftheannualcyclesof17231724and17241725(theothers
aremorefragmentary)providesamarveloussenseoftheliturgicalseasonsand
Bachsmusicalreactiontothem.
Therearegreatadvantagestoapproachingthecantatasthisway.Wecan
experience,forinstance,thetremendousburdenofBachsfirstChristmas,
whenhehadtocompose,prepare,andperformnineworksoveraspanof
sixteendays.Wecanseejusthowmethodicallyheapproachedcomposition
whenhebeganthesecondannualcycle,basedonchoraletunes,byassigning
themelodyfirsttothesopranovoice,thentothealto,thentothetenor,and
finallytothebass,respectively,intheopeningchorusesofthefirstfourworks.
OrwecannotehowtowardtheendofthesamecycleBachbecameenamored
oftheoboedacaccia,anexoticinstrumentwiththebodyofanoboeandthe
bellofahorn,usingitinsixofthelasttwelveworks.

TheseandotherdaytodaymatterscometolifeinGardinerstourthroughthe
cantatas,ashiswritingpicksupthelyricalflowofthemusic:
Hereweseeagreatcomposerattheheightofhispowersmeetingthe
challengesofaselfimposedregimenweekbyweekandadjustinghis
choiceofform,hisapproachandhistoneofvoicetoeachunderlying
theme,eachsymbolandeachmetaphorarisingfromthetextslaidoutin
frontofhim.Therecanbenodoubtastothemagnitudeofthetaskorthe
rapiditywithwhichhisskilldeveloped.
GardinerbelievesitwasBachsidentificationwithMartinLutherthatmadeall
thedifference.LuthersearthyGermantranslationoftheBible,aproseofthe
people,providedBachwithboldimagestopaintinmusic.Itwastheperfect
counterparttoLuthershymnsandhymntexts,towhichBachreturnedtime
andtimeagain.Luthersadvocacyofmusicandhisconvictionthatitcould
makescripturecomealivelegitimizedBachscompositionalambitions.
PickingupSpittasmantle,Gardinermakesthecasethatthecantatas,rather
thanthekeyboardorinstrumentalworks,areBachsgreatestachievement.And
withinthecantatasitisthesacredpieces,backedbyBachsferventfaith,that
shineabovethesecularworks,whichinGardinersviewdonotdisplaythe
sameintenseconviction.

CrowningthecantatacyclesarethePassions.Ofthetwothatsurvive,
GardinerfindstheSt.Johnthemostdramatic,perhapsbecausethetextoffered
optimalopportunityforcontrasts.Onasmallscale,thisplayedoutinariassuch
asBetrachte,meineSeel(Consider,mysoul),inwhichthetornandblood
streakedbackofthefloggedChristislikenedtoarainbowsymbolizingdivine
grace.Bachpaintedthisimagewithexoticviolasdamoreaccompaniedbya
lute(orluteharpsichord,inasubsequentperformance).Onalargescale,it
playedoutintheturbulentchorusesofthehystericalandvengefulmobthat
contrastwiththeserenerecitativesandariasportrayingChrist.Thechorales,
perhapsactivelysungbythecongregation(thisremainsopentodebate),stood
asmarkersforthelisteners,signpostsoffamiliartextsandmelodiesthat
engagedthemmoredeeplyinthedrama.GardinerisrighttopointouttheSt.
JohnPassionsclosetieswithoperaanditsmusicaldevices.Aswastrueof
opera,audiencememberscouldpurchasetheprintedtextattheevent,even
thoughtheywerealreadyfamiliarwiththecharactersandplot.
Gardinerconcludeshissurveyofthevocalmusicwithanextendedexploration
oftheMassinBMinor,Bachsmostuniversalchurchwork.Consistingmainly
ofrecycledmovementsfromcantataswrittenoverathirtyfiveyearperiod,it
allowedBachtosurveyhisvocalpiecesonelasttimeandpickselect

movementsforfurtherrevisionandrefinement.Byshiftingthetextfrom
GermantoLatin,hewasabletomovethemusicfromtheLutheranProper
servicetotheCatholicOrdinary.Theworkispermeatedwithseculardance
music,whichaccountsforitsremarkableexuberance,grace,andappeal.Butit
alsocontainsdeeplyexpressivemusicfromBachsWeimarandLeipzigchurch
cantatasthatgivesitextraordinaryemotionaldepthanddrama.AsGardiner
welldescribesit,theMasscelebratesthefundamentalsanctityoflife,an
awarenessofthedivineandatranscendentdimensionasafactofhuman
existence.Assembledin1748and1749,itwasBachsmusicallastwilland
testament.
Gardiner,likeearlierbiographers,ponderswhethertheworkisLutheranor
Catholic.TheMissa(KyrieandGloria)andSanctuswerecompatiblewiththe
Lutheranworshipservice,aspreviouswritershaveacknowledged.Butrecent
evidenceshowsthattheSymbolumNicenumandAgnusDeiportionscould
havebeenperformedwithintheLeipzigLutheranliturgyaswell.Inthecaseof
theSymbolum,GardinersuggeststhatBachslateinsertionoftheEtincarnatus
putstheCrucifixusattheverycenterofthemusic,thusreinforcingLuthers
beliefthatthecrucifixionwasthecentraleventofChristianity,anactthat
allowedmantoperceiveGodthroughChristssufferinganddeath.
Thisistrue,buttheinterpolationalsohighlightstheincarnation,whichwasde
rigueurforCatholicMasssettingsofthetime.Therearereasonstobelieve
BachperformedtheSymboluminitsinitial,shorterversioninLeipzigasa
Lutherananthem,andinsertedtheEtincarnatusonlywhenheincorporatedthe
musicintohisevolvingCatholicMissatota.TheextantmanuscriptoftheB
MinorMassisfilledwithscratchouts,corrections,revisions,andinsertions.It
suggestsaworkinprogress.
IfBachhadlivedlonger,itislikelythathewouldhavecreatedadefinitivefair
copyoftheMass,similartothoseoftheSt.JohnandSt.MatthewPassions.
TherehemighthaveconfirmedtheCatholicnatureofthewholebyreplacing
theLutherantermSymbolumNicenumwiththeRomanstandard,Credo.
Healsomighthavegiventheworkaname(thepresenttitlecomesfromthe
nineteenthcenturytheBachfamilyseemstohavecalledthecompilationThe
GreatCatholicMass).
WhichbringsusbacktotheAgnusDeiariaofthismonumentalpiece.Itstext
doesnotdrawonLuthersGermanorthepoetryofaLeipziglibrettist,but
ratherontheancientlanguageoftheMassOrdinary.IsitBachsuseofthis
timelessLatinpleathatstillmovesussostronglytoday,orisittheseemingly
inexorableprogressionofhismelodiclinesandharmonicsequences?Doesthe
perfectlyproportionedstructureofthepiecestirprimalfeelingsthattranscend

time,place,andcreed,toexpresstheinexpressible?AlthoughMusicinthe
CastleofHeavendoesnotfullyanswerthesequestions,itforcesustorethink
Bachslifeandhowadversityandfaithaffectedhisvocalcompositions.Andit
takesusinsidehisworld,allowingustoseetheworksfromthestandpointof
composer,performer,andlistener.AsOttoBettmannonceremarked,Bachs
musicsetsinorderwhatlifecannot.

* JohannSebastianBach:TheLearnedMusician(Norton,2000)reviewedinthesepagesbyRobertL.Marshall,June15,
2000.

19632015NYREV,Inc.Allrightsreserved.