Bach had not long returned to Weimar when Prince Leopold of Anhalt-Cöthen, a good judge of music and a first-rate amateur,(87) offered him the post of Kapellmeister. He entered at once upon his new office(88) and held it for about six years.(89) At this period, about 1722,(90) he visited Hamburg, played the Organ there, and excited general admiration. The veteran Reinken—he was nearly one hundred years old—was particularly impressed by Bach’s performance. After he had treated the Choral _An Wasserflüssen Babylon_ for half an hour in variation after variation in the true Organ style,(91) Reinken paid him the compliment of saying, “I thought this art was dead, but I see that it survives in you.” Reinken had treated the same Choral in a similar manner some years before and had had his work engraved, showing that he thought highly of it. His praise therefore was particularly flattering to Bach.(92) On the death of Kuhnau in 1723(93) Bach was appointed Director of Music and Cantor to St. Thomas’ School, Leipzig,(94) a position which he occupied until his death. Prince Leopold of Anhalt-Cöthen had great regard for him and Bach left his service with regret.(95) But he saw the finger of Providence in the event; for the Prince died shortly afterwards.(96) The loss of his patron affected him deeply, and moved him to compose a funeral Cantata containing remarkably fine double choruses which he himself conducted at Cöthen.(97) While he was at St. Thomas’ he was appointed honorary Kapellmeister to the Duke of Weissenfels(98) and, in the following year (1736), received the title of Court Composer to the King-Elector of Poland-Saxony.(99) The two compliments are not of great consequence, and the second was to some degree corollary to Bach’s position as Cantor of St. Thomas’ School.(100)