What is it to Write a Biography of J. S. Bach?1 Peter Williams Ofwheneighteenth-century/courseIamwhatnoneitis-ofGerman/tothosewritethingstheOrthodoxbiography-isachallenge.Lutheran/ofagreatAndcomposer,man/whenan eighteenth-century/German/OrthodoxLutheran/composer, whenIamnoneofthosethings-isachallenge.Andwhen thecomposerlivedinanageoffewbiographies,andwrotesolitde himselfabouthislifeandfeelings,biographersaresooneitherhaving torecountthefewdocumentedfactsortospeculatebeyondthem.In thecaseofBach,onecouldviewitasathanklesstask,andmorethan onetrulyqualifiedscholarhasavoidedit.ButIhavefoundthe challengeusefulinoneparticularway:formyowninstruction, wantingverymuchtofind"myownwayinto"auniqueperson.2 Twoparticulartendenciesemerge.Oneistobeveryfondof one'sownspeculationsanddoubtfulofeverybodyelse's;anda secondistowriteinanywaythatistotally,andevenunhelpfully, deferentialtowardsthesubject.Ofcourse,thechallengeiseven greaterwhenthesubject'slifewasmakingmusicoutofthinair,soto speak,leavingonlyapalereflectionofitonpaper-whichinBach's casehedidn'talwaysdo,orwhenhedid,ofteninmorethanoneform oroneversion.Ifthewordsofapoet-orthepicturesofapainterofferonlysnaresanddelusionsforabiographer ,howmuchmoreso doesthemusicofacomposer!Thebiographerofapoetornovelist isatleastwritingwordsaboutsomeonewhoseworkwaswriting words,andespeciallythoseofthenineteenthcenturyarelikely ^hisessayisaneditedversionofalecturegivenrecendyattheGermanHistorical InstituteinLondon,England. lhisbeganfirstwhenwritingTheUfeofBach,partofaseriesbyCambridge UniversityPress(Cambridge,2004)then,second,alargermonograph,/.S.Bach:A UfeinMsic(Cambridge,2007),andlasdy,amuchexpandedversionofthesecond, withaprovisionaltide,Bach:AMusicalBiography(forthcoming). 1 2 Bach themselves to be the case with Jo are less likely t words. What cle phy! So, where does one begin with Bach? The many previous attempts are a help, of course, but the general idolizing of him makes it difficult to resist romantic interpretations. It seems best to start again from original documents, which are of three kinds: 1) biographical data (baptism, burial and so on), plus a few letters; 2) the musical scores themselves, often made by copyists and implying a lot about Bach's priorities; 3) early biographical essays, such as the famous Obituary. Salient points about the biographical outlines familiar to any Bach admirer can sometimes be overlooked: notice, for instance, the composer of the greatest single repertory of organ music published nothing of it until he was fifty- four. Does this not lead immediately to interesting questions, such as Why not? Why that particular work? Does it have some specific raison d'être we don't know about? I thought that a promising way to start might be to look at the Obituary from a deconstructionist viewpoint. I mean nothing deeply theoretical with this word, merely to recognize that there are constructs in any writing: biographers have agendas, they want to show Bach the German patriot - Bach the orthodox believer - the virtuoso organist - the deep thinker of complex music - the reluctant church and school musician - an incomparable composer indifferent to opera - and so on. To deconstruct such images is not to demolish them but to interpret them against what else is said and, more importandy, what isn't said. For example, if the Obituary makes a point of how enthusiastically Bach was feted by certain dukes and kings, including the most powerful king in Europe when they were writing, is it implying that he was under-valued by his own clergy? Well, I think so, and one can bring in various bits of evidence for this, including quarrels that he took all the way up to the King of Writing a Biography of Bach 3 Saxony. And then, why does he not appear in a massive published at that time in Leipzig Zedler's Universal-Lex he never answer requests for an autobiography? Wh published in the book-center of Leipzig ever dedic resident of nearly thirty years? More still could be read into the Obituary's report o Frederick at Potsdam: its authors could be getting in their own against the very Leipzig establishment th declined to appoint one of them (Emanuel). And yet, iťs that great respect for the composer did come from Germany. So there's no either/ or here: Bach was prais but he could also have become increasingly out of t might now say. It must be significant that nowhere do mention his church job, only that he was music di municipality and cantor to the school. His grumblin to everyone, as surely were his attempts to find a elsewhere, in each case probably more often than we The Obituary's two authors were Bach's second son Emanuel and a former student; one is bound to question by biographers contemporary with the admired subject demonstrated that just like many an author today, espec in Germany, the Obituary authors had their views and welcome those of others. When another pupil, Loren a sentence saying that Bach didn't care for deep theore ations, his son dismissed it as worthless. I think that's Mizler's point was merely that Bach didn't contribute t corresponding musical societies of the time, wh (including Handel) often...
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