The outside obligations imposed by his position were very few. He played the organ three times a week and gave instruction in singing to a small pupil-choir, but here his labors as a teacher ended. The New Church did not rank as the first in Arnstadt, that position being maintained by the Franciscan Church, where the principal choir of singers rendered the music for which Bach's pupils were in process of preparation. The town was then the residence of Count Anton Günther, of Schwarzburg, a man who interested himself in music in many ways, and supported a small chapel, to which he gave as leader an important musician, Adam Drese. For the court performances it was customary to demand the aid of every inhabitant of the region who possessed any skill as instrumentalist or singer, and it is quite possible that Bach's services also may have been called into requisition. Here, in any case, he found ample leisure for continuing his studies. The only artists in the place were men of mediocre ability who could teach him nothing; but he had brought with him from Lüneburg a rich experience, together with a full supply of musical works, forming a treasure-house from which he was able to draw for two whole years. A portion of his own compositions for the clavier and organ, belonging to this period, are of the highest importance. In the year 1704, he completed a work for the clavier, which possesses a biographical interest from its connection with his brother, Johann Jakob. The latter had enlisted as oboist for the body-guard of his Swedish majesty, Charles XII., made the Russian campaign in the king's service, and, after the battle of Pultawa, accompanied him to Bender. From this point he afterwards went, by way of Constantinople, to Stockholm, where he died in 1722, probably in consequence of his superhuman exertions during the campaign. On his departure from home, Sebastian composed a "_Capriccio sopra la lontananza del suo fratello dilettisimo_," which is also known under its somewhat more familiar German title: "Capriccio auf die Abreise eines Freundes." It is divided into five parts, with explanatory programme, as follows: I., "Persuasion of the friends, endeavoring to deter him (the brother) from undertaking the journey"; II., "Various casualties which might befall him in foreign lands"; III., "A general lamentation by his friends"; IV., "The friends, because they see it cannot be otherwise, come to take leave"; V., "The Postillion's Aria." At the end is a long fugue, the theme of which is the call of the post-horn. The whole work shows decided skill in composition and marked originality. [Illustration: JOHANN SEBASTIAN BACH _Drawing by Sidney L. Smith, after the monument in Eisenach, by A. Donndorf._]