Johann Sebastian Bach: His Life, Art, and WorkForkel, Johann Nikolaus
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Johann Sebastian Bach: His Life, Art, and Work
Forkel, Johann Nikolaus
Bach, Johann Sebastian, 1685-1750; Composers -- Germany -- Biography
Little, if any, information of value, therefore, had been added to the
_Nekrolog_ of 1754 when Forkel, in 1802, produced his monograph on Bach
and his music. Nor, viewed as a biography, does Forkel much enlarge our
knowledge of the conditions of Bach’s life. He had the advantage of
knowing Bach’s elder sons, but appears to have lacked curiosity regarding
the circumstances of Bach’s career, and to have made no endeavour to add
to his imperfect information, even regarding his hero’s life at Leipzig,
upon which it should have been easy for him to obtain details of utmost
interest. His monograph, in fact, is not a “Life” in the biographic
sense, but a critical appreciation of Bach as player, teacher, and
composer, based upon the Organ and Clavier works, with which alone Forkel
was familiar.
It would be little profitable to weigh the value of Forkel’s criticism.
We are tempted to the conclusion that Bach appealed to him chiefly as a
supreme master of technique, and our hearts would open to him more widely
did not his appreciation of Bach march with a narrow depreciation of
Haydn, Mozart, and Beethoven, the last of whom, he declared ex cathedra,
had not produced “a single work which can be called a masterpiece.” Gluck
he frankly detested.
But Forkel’s monograph is notable on other grounds. It was the first to
claim for Bach a place among the divinities. It used him to stimulate a
national sense in his own people. Bach’s is the first great voice from out
of Germany since Luther. Of Germany’s own Kisorgimento, patently
initiated by Goethe a generation after Johann Sebastian’s death, Bach
himself is the harbinger. In his assertion of a distinctive German
musical art he set an example followed in turn by Mozart, Weber, and
Wagner. “With Bach,” wrote Wagner, “the German Spirit was born anew.” It
is Forkel’s perpetual distinction that he grasped a fact hidden from
almost all but himself. In his Preface, and more emphatically in the
closing paragraph of his last Chapter, he presents Bach as the herald of a
German nation yet unformed.
Public-domain text, read in full here on John Shaqi.
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