J O H AN ft -E B A SHAN THE STORY OF THE DEVELOPMENT OF A GREAT PERSONALITY BY C. HUBERT H. PARRY MUS. DOC., OXFORD, CAMBRIDGE, AND DUBLIN mRKCTOR OF THE HOYAL COLLEGE OK MUSIC, AND KORMRKLY PKOFEKSOK OK MUSIC OF TK UNIVaRSZTY OF OXKOKD ILLUSTRATED G. P. PUTNAMS SONS NEW YORK AND LONDON Gbe ItnfcltetbocFtet preea 1010 COPYRIGHT, 1909 BY G. P. PUTNAMS SONS Published, September, 1909 Reprinted, March, 1910 Vbe Hitfcfcerbocker Pre, few U IHfi, MEMORY OF E. W. H. PREFACE THE exhaustive researches of Philip Spitta in every quarter which could afford even remote illustrations of the life and work of John Sebastian Bach, and the voluminous and comprehensive work which embodied their results, might seem to render any further efforts in the same direction superfluous. His devotion and ingenuity in unearthing such facts as were attainable after more than a century of public . indifference, and his shrewdness in suggesting surmises when facts were not to be found, seem to leave little for those to do who come after, but to confess their obligations and to acquiesce in the arguments discussed and re-discussed without stint. But Spitlas position, as the first thoroughgoing explorer, was inevitably specialised, as he could not take anything for granted, and had to set down every insignificant detail of fact and inference which bore upon his argument. He felt himself bound to give in the utmost fulness the births, deaths, mar riages, and careers of remote relations, to discuss the interesting and valuable evidence of the water-marks in the paper used by Bach at different times in his career, and the technicalities of ecclesiastical usage which throw light on the schemes of his Church Can tatas, andmany other matters which are rather beyond the requirements of any but specialists. His work is VI Preface inevitably rather confused through the vast array of evidence which has to be marshalled, and it is difficult to derive from it, without great effort, any clear idea of the personality of the composer, as a composer, or any clear impression of his work as a whole. More over, as the writer endeavours to supply technical analyses of most of the works he refers to, especially of works which are hardly ever, if ever, performed, and as musical analysis is, as a rule, quite unprofitable without the actual Music analysed, it is necessary, in order to get even a limited understanding of the book, to have all Bachs works in the huge forty and odd volumes of the German Bach Society, and possibly a few other editions and it would also entail several years of ample leisure, and a devotion which is prac tically inexhaustible. Under these circumstances a more condensed survey of Bachs life-work and his unique artistic character may seem excusable. Too copious a presentation of details is apt to obstruct that understanding of the works of any great composer or artist, and the manner in which human qualities are manifested in them, which is the object of all scrutiny of their lives. In Bachs case the mere events and facts of the life apart from Art are insignificant, and in consequence of the lack of public interest which he inspired in his own time even myths and legends are but scanty, so there is but little temptation to dwell upon matters of secondary im portance. His life was unified by the persistence of strong and decisive qualities of character and tempera ment, which happened to be verycharacteristic of the race and period to which he belonged and the unity is emphasised by the fact that he had very little help Preface vii from outside in developing his powers, and that he went on educating himself and expanding his re sources from beginning to end…