Every biography is necessarily based on that written by his two sons, four years after his death, published by Mizler, and the one published in 1802 by Forkel, who was intimate with the sons. Hilgenfeldt’s account follows these, and in later years further information has been acquired from the searches into archives, and other ancient documents, by C. H. Bitter and Philipp Spitta. Any details concerning the life and works of this remarkable man are interesting; and it is probable that researches will be continued for some time to come. Thus, last year (1898) a “celebration” took place at Ohrdruf in memory of Bach’s school career there; and Dr Friedrich Thomas took the opportunity of publishing some details of the Bach family which had escaped Spitta.
The name of Bach is reverenced by Thuringian organists, and I this year had interesting conversations with his successors at Arnstadt and Mühlhausen, Herr Kellermann and Herr Möller. But the chief music-seller at Arnstadt told me that “Bach’s music is out of date; no one has now any interest in such old-fashioned compositions.”
The two recent important accounts of Bach’s life are those of C. H. Bitter, 1865, 2 vols.; second edition 1880, 4 vols.; and Philipp Spitta, 2 vols, a translation of which by Mrs Clara Bell and Mr Fuller-Maitland was published by Messrs Novello in 1884. With regard to the last, I have to thank Messrs Novello for kindly allowing me the use of the book at a time when it was out of print. I understand that a second edition has since been published.
References to Spitta apply to the first edition of the translation; all others to the original German.
The Bachs of Thuringia--Veit Bach, the ancestor of John Sebastian--His sons and descendants--A breach of promise of marriage--J. Christoph Bach of Arnstadt--His cantata “Es erhob sich ein Streit”--John Michael Bach of Gehren--His character--His compositions--J. Christoph Bach of Ohrdruf and his descendants--The sons of John Sebastian Bach--The clan feeling--A sixteenth century _quodlibet_ 1
Bach’s attitude towards art--His birth--The death of his father--Moves to Ohrdruf--Performances in the Ohrdruf choir--Removal to Lüneburg--His industry as a boy--Expeditions to Hamburg and Celle--Joins the Court Orchestra at Weimar--Is appointed organist at Arnstadt--Troubles with the church authorities--Successfully competes for a new post 20