Far down the vista1 of history stands the Grecian Homer, unique, and, save for Hesiod, alone amidst the memorable3 years. Alone we say, but from the view-point of his contemporaries was visible in the background—even to the dim horizon of civilization—many an eminence4 inferior only when compared with that colossal6 peak of Ionic song. To every philologist7, to every classical scholar, the development and finish of the Homeric hexameter argues convincingly a poetical8 ancestry9 of which the Iliad and the Odyssey10 are culmination11.
The chiselled12 achievements of Phidias, and whatsoever13 else extant of Attic14 sculpture, attest15 the attained16 perfection of an art in whose day of puerility17 the primitive18 cave-dweller, with a bit of broken flint, idly scratched upon the bones of his prey19, crude semblance20 of man, animal, fish, reptile21 and bird. The worthiest22 triumphs of Renaissance23 painting are traceable to the cruel, warlike impulse of the savage24 daubing himself to hideousness25 with earthy pigments26 and the red juice of ripened27 berries. The grand creations of the German tone-builders were evolved from the battle-yells of aboriginal28 tribes.
Thus in Earth's purest, highest things is exemplified the law whereby the noble somehow emerged from the ignoble29 like the sweet and tinted30 flower rooted in the unsavory compost: whereby also the formative mind of man itself gained scope and symmetry, not through sudden and strenuous31 exercise, but in a way comparable to the sphering and solidifying32 and upbuilding of a planet, in fact, that infinitely33 gradual and orderly process which Nature in her wisdom has everywhere counterparts, as when she evolved these modern years from the countless34, non-achieving ages of unrecorded savagery35; ages repulsive36 with the dominant37, brute38 passions of men.
Thus, in view of the foregoing, it may with assurance be admitted that every genius is endowed not only by the immediate39, gracious gift of God, but also by the accumulated bequeathings of every predecessor40 in the same domain41 of usefulness.
Well we know that while the puny42 efforts of the ordinary individual ripple43 but for an instant some little surface of the vast ocean of mortal life, others there be, centers of mental and spiritual power at once wide-reaching, deep-sounding, and long-enduring. Always in touch with unseen angel hands, these are verily the world's immortals44 co-working with the Divine Law of human progress. Deathless are they in deed and name; the prophet of Truth, the priest of God, the patriot45 Warrior46, the incorruptible Statesman, the wise Ruler, the inspired Artist and the uplifted Singer.
Our immediate purpose bids us choose from this noble company; let us look somewhat into the dedicated47 life of Johann Sebastian Bach; let us inquire briefly48 into the musical mission of one of the chief promoters of human enlightenment.
At cursory49 glance, the solid and abiding50 work of Bach may be called the bed-rock, the basic strata51, whereon rests our musical world of this present. But, remembering the Flemish Fuguists and their predecessors52, the Canon writers of the Gotho-Belgic school, and, earlier, the Parisian developers of the primitive counterpoint originating in French Flanders during the tenth century, we discover other strata underlying53 and upholding the Passion Music, the Sacred Cantatas54, and the instrumental Preludes55 and Fugues. Nor need this discovery belittle56 our estimate of Bach; it but illustrates57 the dependence58 of the human mind, unstable59 without the foundation and buttress60 of other minds. Shakespeare himself was largely the product of exceptional conditions, the rich flower of the Elizabethan environment, the chief dramatic poet, the genius most gifted, among an unusually gifted group of notables.
The Flemish school of composition, which, at the advent61 of Bach, had now flourished for at least a century and a half, was most fortunate in one of its earliest pupils, Palestrina, who, infusing into its abundant learning the spirit of Genius, forthwith evolved for his Italy a noble and devout62 school of sacred music. But, despite the unhampered labors63 of the Flemings, no native individualizer and summarizer of their efforts appeared during the one hundred and fifty years prior to the birth of Bach. No northern Palestrina yet fathered a national sacred music suited to the needs of Protestant Germany.
Let none accuse Nature of niggardness because neither seed time nor summer bends with the ripened corn and wheat. Let him await her seasonable yield, unfailing while the sun shines and the earth revolves64. But Nature has sowing and springing and ripening65 in other and far distant fields; and if we, unseeing, comprehend not, let it suffice that she, the wise and provident66, wholly knows what sun is shining on those fields, and the diameter of the orbital turning of their world she knows, and the orderly come and go of their unfailing seasons. And so it befell that in fitly appointed time, and not in capricious moment, she gave to the world Sebastian Bach to be the great individualizer and father of German music.
Of Bach's contemporaries and forerunners67 of the Flemish school, the most worthy68 were undoubtedly69 those whom he revered70; those who, either by creation or interpretation71, incited72 him to early effort, and easily moulded his plastic youth into semblance of the unsurpassed composer and performer which, because of mature and independent after-labor, he wholly became. And yet, as compared with him, of what largeness are his outgrown73 models? Of what enduring substance, of what undimmable fame, such musicians as Sweelinck, Scheidemann, Schuitz, and even Reinken and Buxtehude?
Many a genius has towered the one exception in a family not intellectually prominent. Unlike the majority of his class, Bach owed much to heredity. Others of his blood, immediate ancestors and numerous living relatives, all had accomplished74 something worthy of mention in music. Nor did Nature expend75 her energies in producing him the greatest of the Bachs. That of which his genius was the culmination, ceasing not with himself, experienced a gradual decline through his numerous descendants.
Never was a genius more thoroughly76 equipped for his life work than was Sebastian Bach. Musical learning in him first reached its fullness. In his larger compositions, as in the epics77 of Milton, every page reveals the student of the ages; but what in lesser78 men sinks to dry scholarship, in Bach, as in Milton, becomes a glorious compendium79 of classical erudition, and this because of the abundant presence of that transforming quality denied to mediocrity, to wit, Imagination.
Many a great page of Milton, and, for that matter, of Dante also, proves but hard reading to the unlettered who oftentimes would conceal80 their ignorance under the guise81 of fulsome82 praise. So with Bach. While granting his obvious learning, many amateurs, fairly musical, and not a few professional musicians, but little estimate his noble quality of imagination.
Bach is in very truth the Musician's musician, the touchstone of his training. When for himself one has conquered the technicalities of fugal composition, he is in fair way to estimate Bach at par5 value, for, to his own discomfiture83, he has discovered that the construction of a fugal theme, pronounced and pliant85 as even the briefest bearing the impress of Bach, is one of the great doings of musical skill and imagination. These qualities Bach further shows in the treatment of subject and counter-subject by means of the stretto, and all devices of Canon and polyphonic counterpoint, moving in broad and stately volume to the final cadence86 and the organ point.
In their highest and most eloquent87 efforts, vocal88 or instrumental, the composers of the Contrapuntal School had recourse always to the fugue whose every voice part is rendered individually prominent as in no other form of musical expression, ancient or modern; nor can anything more adequate in this respect be constructed or conceived of. But the attainment89 of a perfect, fugal style is fraught90 with difficulties insurmountable to many composers, and almost so to some whom we rightly deem among the greatest.
Beethoven himself was not by natural bent91 a fuguist; his genius led him far afield. Notwithstanding the strength and boldness of his figures, the distinctiveness92 of his basses93, and the melodic94 flow of the intermediate parts of his harmony, the not many examples of fugue, found in the bulk of his collected works, show chiefly the ambition of the explorer; and this in one the monarch95 of many another domain of music.
As constructor of vocal fugues, Mendelssohn was all that scholarship could make him, but his themes, when compared with those of Bach and Handel, are deficient96 in the quality of boldness. The theme is the soul of the fugue, its center and source of life, and boldness is one of the chief requirements of the theme. Individualized, it attracts instant attention and is easily recognized throughout its augmentations, diminutions, and inversions97. Among the leading composers of every land, from Italy to Poland and from France to Scandinavia, may be named many divinely inspired melodists, and also many noble harmonists, whose classic or romantic measures abound98 in felicitous99 modulations and every beauty of the free style; but how the great masters of Fugue narrow one by one as we eliminate those fallen short of its chiefest requirements! Finally there remain but two. Kings are they. Sovereigns indeed. Contemporary rulers born in the selfsame years. George Frederic Handel is one, and Johann Sebastian Bach is the other.
In the ?Well-tempered Clavichord,? a work which the celebrated100 theorist Richter has well said ?should be in the hands of all who devote themselves to the higher branches of musical study,? we have, by the universal acknowledgment of authorities, the culminating perfection of the Contrapuntal School, that ample heritage from an era more and more behind the Classicism of Haydn, Mozart and Beethoven, and the Romanticism of Schumann, Chopin and Wagner. Severe with the legacies101 of the medi?val spirit, this comprehensive work of Bach, embracing the totality of the major and the minor102 keys, is, for breadth and strength, comparable with the chief religious frescoes103 of Michel Angelo.
With reverence104, and a sense of deep obligation, every sterling105 musician looks back to Johann Sebastian Bach, seeing in him the virile106 forebear of whatsoever is rich and euphonious107 and learned in modern instrumental music. Composers like Felix Mendelssohn and Robert Franz, have sat at the feet of Bach and hailed him their musical Messiah, and many, numbered not in the circle of such discipleship108, have harkened to the voice of his teaching; and some there be, who, touching109 but the hem84 of his garments, were cured of weakness and infirmity.
The grand, old German Chorals, those voicings of religious fervor110 steadfast111 and heart-deep, wherefrom every frivolity112 of the world was banished113; those massive, stately hymns114 of a communion whose worshippers each mingled115 his individual offering with the outpour of congregational praise, are forever associated with the name of Bach, their amplifier and enricher, as with the name of him who introduced them into the service of the Lutheran Church. Bold and enduring, like monolithic116 hills, those rugged117 Chorals long had stood untouched by the meddlesome118 hand of Mediocrity. Surely their incorporation119 by Bach into his greatest works demanded a genius equal to that of their originators, and, in addition, the total of judgment120 and learning which our master summoned to his well-accomplished task.
At the very outset of his career, Bach was drawn121 to the style of composition which thereafter characterized his efforts. The Italian Opera, that belonging of quite another people, that importation which was to absorb, until past middle life, the energies of his great contemporary Handel, held for Bach no allurements122. He had in supreme123 degree the instinct of the born specialist; he desired and aimed to do a supreme thing supremely124. His was that native wisdom which confined his energies within their wide and deep channel, the course of non-resistance indicated by the cleavage of the hills and the lay of the valleys of the rugged, musical landscape which had environed his predecessors, and amidst which he himself matured to self-conscious, artistic125 being. But, though a specialist, Bach was so in the true sense of the word. His comprehensive interest could not be circumscribed126 and iron-bound by his specialty127. Well he knew the anatomy128 of the whole body of music, and well he realized the interdependence of its various members; and so with keen interest he noted129 every happening in parts most removed from the center of its life.
Naturally, we find him seeking acquaintance with Handel far off in the English home of his adoption130. But the opportunity for a friendship no doubt of vast, mutual131 advantage, Handel seems to have ignored. Perhaps he preferred the lone2 sufficiency of his gigantic selfhood. Other reasons might be conjectured132, but, in truth, Handel had grown somewhat out of touch with Bach. Aside from the matter of the Italian Opera, the environments of London metropolitan133 life, and also the art life of England—largely moulded by her great masters of English verse—had reacted upon the genius of Handel making him in some degree non-German, and yet, by way of compensation, making him the chief glory of English music, and the model of native composers who but for him might have harked back to Purcell and Orlando Gibbons. Different indeed was the life of Bach, a life remote from the great centers of worldly activity. In that life is seen no arenal contests like those which, fast and furious with thrust and counter thrust, too much filled the rival days of Handel and Bononcini.
The compositions of Bach provoked no partisan134 spirit, nor cared he for that mere135 notoriety which benefits the well-damned equally with the well-praised. In the lives of men like Bach and Handel, every moment of well-ordered activity is a boon136 to their public, every moment of misdirected effort is an unmitigated loss. However, in the life of Bach we lack cause to regret an abortiveness of result lamentable137 in the life of Handel of whom it might be asked, Of what musical enrichment to the present are those many operatic effusions of his busy, young manhood, and his industrious138 middle-prime? For the most part they are dead and coffined139 in the dark of oblivion. Whatsoever escapes forgetfulness has, with rare exceptions, experienced a veritable reincarnation among the florid beauties of his Oratorios140, the crown and glory of his last and greatest years.
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1
vista
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| n.远景，深景，展望，回想 | |
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lone
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| adj.孤寂的，单独的；唯一的 | |
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memorable
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| adj.值得回忆的，难忘的，特别的，显著的 | |
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eminence
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| n.卓越，显赫；高地，高处；名家 | |
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par
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| n.标准，票面价值，平均数量；adj.票面的，平常的，标准的 | |
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colossal
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| adj.异常的，庞大的 | |
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philologist
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| n.语言学者，文献学者 | |
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poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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ancestry
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| n.祖先，家世 | |
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odyssey
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| n.长途冒险旅行；一连串的冒险 | |
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culmination
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| n.顶点；最高潮 | |
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chiselled
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| adj.凿过的，凿光的； （文章等）精心雕琢的v.凿，雕，镌( chisel的过去式 ) | |
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whatsoever
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| adv.（用于否定句中以加强语气）任何；pron.无论什么 | |
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attic
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| n.顶楼，屋顶室 | |
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attest
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| vt.证明，证实；表明 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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puerility
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| n.幼稚，愚蠢；幼稚、愚蠢的行为、想法等 | |
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primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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prey
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| n.被掠食者，牺牲者，掠食；v.捕食，掠夺，折磨 | |
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semblance
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| n.外貌，外表 | |
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reptile
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| n.爬行动物；两栖动物 | |
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worthiest
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| 应得某事物( worthy的最高级 )； 值得做某事； 可尊敬的； 有（某人或事物）的典型特征 | |
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renaissance
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| n.复活，复兴，文艺复兴 | |
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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hideousness
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pigments
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| n.（粉状）颜料( pigment的名词复数 )；天然色素 | |
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ripened
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| v.成熟，使熟( ripen的过去式和过去分词 ) | |
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aboriginal
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| adj.（指动植物）土生的，原产地的，土著的 | |
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ignoble
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| adj.不光彩的，卑鄙的；可耻的 | |
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tinted
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| adj. 带色彩的 动词tint的过去式和过去分词 | |
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strenuous
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| adj.奋发的，使劲的；紧张的；热烈的，狂热的 | |
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solidifying
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| （使）成为固体，（使）变硬，（使）变得坚固( solidify的现在分词 )； 使团结一致； 充实，巩固； 具体化 | |
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infinitely
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| adv.无限地，无穷地 | |
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countless
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| adj.无数的，多得不计其数的 | |
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savagery
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| n.野性 | |
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repulsive
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| adj.排斥的，使人反感的 | |
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dominant
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| adj.支配的，统治的；占优势的；显性的；n.主因，要素，主要的人(或物)；显性基因 | |
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brute
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| n.野兽，兽性 | |
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immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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predecessor
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| n.前辈，前任 | |
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domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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puny
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| adj.微不足道的，弱小的 | |
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ripple
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| n.涟波，涟漪，波纹，粗钢梳；vt.使...起涟漪，使起波纹； vi.呈波浪状，起伏前进 | |
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immortals
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| 不朽的人物( immortal的名词复数 )； 永生不朽者 | |
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patriot
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| n.爱国者，爱国主义者 | |
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warrior
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| n.勇士，武士，斗士 | |
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dedicated
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| adj.一心一意的；献身的；热诚的 | |
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briefly
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| adv.简单地，简短地 | |
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cursory
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| adj.粗略的；草率的；匆促的 | |
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abiding
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| adj.永久的，持久的，不变的 | |
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strata
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| n.地层（复数）；社会阶层 | |
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predecessors
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| n.前任( predecessor的名词复数 )；前辈；（被取代的）原有事物；前身 | |
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underlying
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| adj.在下面的，含蓄的，潜在的 | |
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cantatas
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| n.大合唱( cantata的名词复数 )；清唱剧 | |
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preludes
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| n.开端( prelude的名词复数 )；序幕；序曲；短篇作品 | |
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belittle
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| v.轻视，小看，贬低 | |
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illustrates
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| 给…加插图( illustrate的第三人称单数 )； 说明； 表明； （用示例、图画等）说明 | |
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dependence
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| n.依靠，依赖；信任，信赖；隶属 | |
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unstable
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| adj.不稳定的，易变的 | |
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buttress
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| n.支撑物；v.支持 | |
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advent
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| n.(重要事件等的)到来，来临 | |
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devout
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| adj.虔诚的，虔敬的，衷心的 (n.devoutness) | |
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labors
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| v.努力争取(for)( labor的第三人称单数 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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revolves
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| v.（使）旋转( revolve的第三人称单数 )；细想 | |
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ripening
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| v.成熟，使熟( ripen的现在分词 )；熟化；熟成 | |
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provident
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| adj.为将来做准备的，有先见之明的 | |
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forerunners
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| n.先驱( forerunner的名词复数 )；开路人；先兆；前兆 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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undoubtedly
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| adv.确实地，无疑地 | |
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revered
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| v.崇敬，尊崇，敬畏( revere的过去式和过去分词 ) | |
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interpretation
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| n.解释，说明，描述；艺术处理 | |
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incited
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| 刺激，激励，煽动( incite的过去式和过去分词 ) | |
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outgrown
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| 长[发展] 得超过（某物）的范围( outgrow的过去分词 )； 长[发展]得不能再要（某物）； 长得比…快； 生长速度超过 | |
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accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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expend
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| vt.花费，消费，消耗 | |
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76
thoroughly
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| adv.完全地，彻底地，十足地 | |
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77
epics
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| n.叙事诗( epic的名词复数 )；壮举；惊人之举；史诗般的电影（或书籍） | |
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78
lesser
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| adj.次要的，较小的；adv.较小地，较少地 | |
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79
compendium
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| n.简要，概略 | |
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80
conceal
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| v.隐藏，隐瞒，隐蔽 | |
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81
guise
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| n.外表，伪装的姿态 | |
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82
fulsome
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| adj.可恶的，虚伪的，过分恭维的 | |
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83
discomfiture
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| n.崩溃；大败；挫败；困惑 | |
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84
hem
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| n.贴边，镶边；vt.缝贴边；(in)包围，限制 | |
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85
pliant
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| adj.顺从的；可弯曲的 | |
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86
cadence
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| n.（说话声调的）抑扬顿挫 | |
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87
eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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88
vocal
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| adj.直言不讳的；嗓音的；n.[pl.]声乐节目 | |
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89
attainment
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| n.达到，到达；［常pl.］成就，造诣 | |
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fraught
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| adj.充满…的，伴有(危险等)的；忧虑的 | |
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91
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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92
distinctiveness
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| 特殊[独特]性 | |
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93
basses
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| 低音歌唱家，低音乐器( bass的名词复数 ) | |
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melodic
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| adj.有旋律的，调子美妙的 | |
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monarch
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| n.帝王，君主，最高统治者 | |
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deficient
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| adj.不足的，不充份的，有缺陷的 | |
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inversions
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| 倒置( inversion的名词复数 )； （尤指词序）倒装； 转化； （染色体的）倒位 | |
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abound
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| vi.大量存在；(in，with)充满，富于 | |
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99
felicitous
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| adj.恰当的，巧妙的；n.恰当，贴切 | |
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100
celebrated
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| adj.有名的，声誉卓著的 | |
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legacies
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| n.遗产( legacy的名词复数 )；遗留之物；遗留问题；后遗症 | |
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minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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frescoes
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| n.壁画( fresco的名词复数 )；温壁画技法，湿壁画 | |
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104
reverence
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| n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬 | |
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105
sterling
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| adj.英币的(纯粹的，货真价实的)；n.英国货币(英镑) | |
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virile
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| adj.男性的；有男性生殖力的；有男子气概的；强有力的 | |
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107
euphonious
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| adj.好听的，悦耳的，和谐的 | |
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108
discipleship
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| n.做弟子的身份（期间） | |
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109
touching
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| adj.动人的，使人感伤的 | |
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110
fervor
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| n.热诚；热心；炽热 | |
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111
steadfast
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| adj.固定的，不变的，不动摇的；忠实的；坚贞不移的 | |
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frivolity
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| n.轻松的乐事，兴高采烈；轻浮的举止 | |
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113
banished
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| v.放逐，驱逐( banish的过去式和过去分词 ) | |
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114
hymns
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| n.赞美诗，圣歌，颂歌( hymn的名词复数 ) | |
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115
mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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116
monolithic
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| adj.似独块巨石的；整体的 | |
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117
rugged
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| adj.高低不平的，粗糙的，粗壮的，强健的 | |
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118
meddlesome
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| adj.爱管闲事的 | |
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119
incorporation
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| n.设立，合并，法人组织 | |
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120
judgment
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| n.审判；判断力，识别力，看法，意见 | |
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121
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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122
allurements
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| n.诱惑( allurement的名词复数 )；吸引；诱惑物；有诱惑力的事物 | |
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123
supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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124
supremely
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| adv.无上地，崇高地 | |
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125
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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circumscribed
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| adj.[医]局限的：受限制或限于有限空间的v.在…周围划线( circumscribe的过去式和过去分词 )；划定…范围；限制；限定 | |
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127
specialty
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| n.(speciality)特性，特质；专业，专长 | |
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128
anatomy
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| n.解剖学，解剖；功能，结构，组织 | |
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129
noted
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| adj.著名的，知名的 | |
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130
adoption
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| n.采用，采纳，通过；收养 | |
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131
mutual
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| adj.相互的，彼此的；共同的，共有的 | |
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132
conjectured
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| 推测，猜测，猜想( conjecture的过去式和过去分词 ) | |
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133
metropolitan
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| adj.大城市的，大都会的 | |
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134
partisan
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| adj.党派性的；游击队的；n.游击队员；党徒 | |
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135
mere
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| adj.纯粹的；仅仅，只不过 | |
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136
boon
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| n.恩赐，恩物，恩惠 | |
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137
lamentable
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| adj.令人惋惜的，悔恨的 | |
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138
industrious
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| adj.勤劳的，刻苦的，奋发的 | |
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139
coffined
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| vt.收殓（coffin的过去式与过去分词形式） | |
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140
oratorios
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| n.（以宗教为主题的）清唱剧，神剧( oratorio的名词复数 ) | |
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