The Great Events by Famous Historians [Volumes 1-14]

But though Bach's genius was thus supreme, it was not because he was undisturbed by the vexations of daily life. Rarely, if ever, has an artist equally great produced in such boundless profusion the highest works of genius, when engaged with men most frequently unable to understand his thought, and immersed in the arduous duties of teacher in an art noteworthy of producing fatigue and exhaustion of spirit. But his enthusiasm and strength were equal to the task. With grand integrity, and desire for the welfare of the congregations of the churches alluded to, he obtained from their respective ministers the texts of their discourses for the ensuing Sundays, and produced, apparently without effort, hundreds of cantatas to convey to the hearers the inner meaning of the words which fell from the preacher's lips. These cantatas frequently opened with orchestral introduction followed by a chorus, usually very impressive, and imbued with the meaning of the text. The recitatives and solo airs would still further convey this meaning, while a chorale or hymn in four parts, with elaborate instrumental accompaniment, served to express the feelings of the whole congregation. To each instrument was assigned a separate part, and the whole accompaniment was separate from the singing.

But if Bach in the consummation of the chorale perfected Luther's work in the realm of music, he in his Passion music finds worthy expression of a nation's devotion. His genius, as it were, felt the spirit-life of the past. His soul vibrated to the yearnings of the unknown millions of his race who had passed away in the centuries preceding him, and whose consolation in their humble toil, in the various hardships of their lives, was the narrative of this Passion music of the Saviour Christ. The rough, dramatic presentation accorded to this narrative gathered, as time went on, elements of beauty and traditional treatment around it. It was powerfully to affect the drama proper and oratorio, but in its direct and proper functions it was to inspire the first, and in some respects the greatest, of the great musicians of Germany to his utmost effort, to his most lofty flight of genius, as his winged spirit soared through the ages of the past toward the future ages yet to come.

This Passion music of St. Matthew is the noblest presentment of the characteristics of the German mind, and is unsurpassed in the realm of religious art. It is an unfolding of the German spirit, and evidences qualities the possession of which makes for national greatness.

As we have said, Bach is the great lyric poet of his nation, the first great German genius after the devastating horrors of war. Looming on the sight, or as contemporaries, are Handel, Leibnitz, Wolf, Klopstock, Lessing, and Winckelmann. The modern era, with its philosophy and revolution, has arrived. The domain of thought is enwidened, and the Middle Ages blend and fade in the historic vista of the past. But the modern era commences with these great affirmations in art and poetry. Bach takes the narrative of the Passion, and erects the Cross anew with sympathetic genius of art and love. Handel, as if he had caught Isaiah's prophetic fire, gave to Europe its most beautiful and noble epic, the Messiah; and Klopstock, the first of the great line of Germany's modern poets, devoted his genius and labor to the same subject. But with Bach and Handel no miserable conflicting elements of theology sully the conception of the Saviour Christ. These great artists rise to the universal and the true. The highest art is absolute and knows no appeal. It is in harmony with universal law, both spiritual and physical.