Bachii, Musici Lips. laus: Bach in a Philological Footnote

Abstract

There is a lengthy footnote in Gesner’s 1738 edition of Quintilian’s Institutio Oratoria that describes J. S. Bach in performance; indeed, it is the only eye- or ear- witness account published during Bach’s life-time. Most Bach studies focus on the descriptive element of the footnote, but there is reason to believe that it is more significant and has to do with the teaching of music at the Thomasschule in Leipzig. In Book 1 of Quintillian’s treatise he stresses the important place music has in the education of the young orator. The editor, Johann Matthias Gesner, had been a colleague of Bach in Weimar before becoming the rector of the Thomasschule in 1730, where Bach had been Cantor since 1723. Gesner was a reformer who tightened-up the curriculum but supported the important place given to music. Through the political influence of Burgomaster Stieglitz (who was also the school’s Vorsteher) the tutor of his family, Johann August Ernesti, was appointed the conrector in 1731. Undoubtedly, due to pressure from Stieglitz, Gesner was prevented from becoming a professor of Leipzig University while continuing as rector of the Thomasschule, even though there had been no problem in this regard with Gesner’s predecessors. Thus Gesner looked elsewhere and eventually became a professor at the new university of Göttingen, where he continued his educational reforms that supported the teaching of music. On Gesner’s departure in 1734 Ernesti, still only 27, became the rector. Within two years Ernesti openly usurped Bach’s authority as Cantor by choosing the prefects whose main duty was to direct some of the choirs. Bach charged that this was his responsibility because the prefects had to be chosen for their musical abilities. I will argue that Gesner’s footnote was in effect support for Bach since it must have been written soon after the dispute had begun. This becomes clear when the footnote is seen within the context of Quintillian’s arguments concerning the fundamental role of music in education. Both Gesner and Ernesti were engaged in curricular reform: Gesner supported music whereas Ernesti undermined it.