14g, BACH Gato of his birth is unknown, but he is to be traced at Ravenna in 1670. "He was maestro i cappella at the church of Sant’ Eufemia at Verona in 1572, and from 1584 at the cathedral of Mantua. “He must have returned to Verona ‘as maestro di cappella before 1596, and he died there 1609 (Quellen-Lerikon). Baccusi wi of the first composers who introduced into his accompaniments to church music instrumental parts in unison with the voice, in order to support the singers. The works in which he applied this system are printed; the first is Intituled Aippolyti Buccust, Becl. Cath, Verona ‘musica: mayistri, missce tres, tum vivd voce tum omni instrumentorum genere cantatu accom- modatissinee, cum octo vocibus, Amadino, Venice, 1596. The ‘other is a volume containing the psalms used_at vespers, with two Magniticats, Venice, 1597. It has ‘a frontispiece occupied by an’ analogous inscription of even greater Iength and, if possible, of even less elegant latinity. Tho rest of his compositions consist principally of masses, madrigals, motetti, and psalms, and were published for ‘the most part during’ his lifetime by Venetians such as Gardano, Vincenti, and Rampazetti. Isolated pieces of his are found in several miscel- janeous publications of the period. Perhaps the most interesting of these is that contributed by him to the volume dedicated by fourteen different Ttalinn composers to their great con- temporary, Palestrina, xm re BACH, The namo borne by avery numerous family of musicians who oconpied not merely honourable but prominent places in the history of their art through a period of nearly two hundred years, In this family musical talent was as it were bequeathed, and it seems almost like a law of nature that’ the scattered rays of ‘the gift should, after a hundred years, finally concentrate in the genius of JonanN SenastiaN. ‘The history of the Bach family ia not only a guide towards a just appreciation of the great- noss of Sebastian, but it has an independent interest of its own through the eminence of some of its individual members. Born and bred in Thuringia, the family for the most part remained there throughout two centuries ; the sona of Sebastian boing the first to spread to more distant parts. ‘This stationary con- dition naturally” produced a strong family fecling. According to tradition, meetings of all the members took place for ‘the purpose of social intercourse and musical recreation. ‘The Bachs always learned from one another, for they rarely had means for secking their educa- tion elsewhere ; thus the artistio sense and capacity of the family was, as we have said, hereditary, and by. its undisturbed activity during a whole century became an important element in the development of Johann Sobastian. To this family unity also we may ascribe the moral excellence and cultivation of the Bachs. BACH Fully to appreciate the importance of these qualities in the development of the race, wo must consider that these predecessors of Johann Sebastian lived in the miserable timo of the ‘Thirty Years’ War, and in the midst of the moral indifferentism and collapse of intellectual, power which distinguished that unhappy period. Yet the house of Bach exhibits au almost uni- form example of moral worth, together with a constant endeavour after the’ highest ideals— qualities which aro all the greater because in the circumstances of the time they could hardly. theet with recognition or encouragement. In course of time the towns of Arnstadt, Erfurt, and Kisenach became the centres of the family; there wo find its most important representatives, and an uninterrupted sequence through several generations filling the same office ; so that, for instance, im Erfurt the town ‘musicians were known as ‘the Bachs,” even though there had ceased to be any Bach among them, Another proof of the strong family feeling (and a valuable source of infor- mation) is the genealogy of the Bach family, began ‘by the great Sebastian himself, and added to by his son Carl Philip Emanuel, Tt contains fifty-three male members of the family, and gives the origin and dates of birth and death of each, and the most important events in their lives. This genealogical table soon became circulated amongst the family, and a copy of it in Emanuel’s handwriting ia to be found in the Royal Library at Berlin. For an account of the Bach-literature sec the article on JouANN SEBASTIAN. ‘The following table exhibits the chief mem- bers of this remarkable family, and contains all those whose lives are touched on below. ‘The same numeral is affixed to each in both genealogy and biography. ‘Tho references in brackets aro to the English translation of Spitta’s Bach. ‘The earliest notices go back to the beginning of the 16th century, and mention four distinct branches, of which’ the last only is of general interest, because it is that from which Johann Sebastian is descended. ‘This, the actual musical branch, lived in Wechmar, a small place near Gotha. Haws Bac [1] (Sp. i. 4), the eldest of the Bachs, is mentioned as ‘a Gemeinde-Vormundschaftsglied there in 1561. ‘Then comes Verr [2] (Sp. i. 5), possibly the son of the former, born between 1550 and 1560, and generally considered the progenitor of the race. He is snid to have been a baker, and to have moved into Hungary with many other Evangelicals for protection from persceutio But under the Emperor Rudolf 11. the Catholic reaction gave the Jesuits the upper hand, and this caused Veit to return home and sctile at Wechmar asa baker and miller. The genealoxy states that he loved and pract’sed music ; his chief delight was in a ‘Cythringen ' (probably ‘a vither), upon which he used to play while hisBACH BACH 143 J. Hans Bach, at Weckmar about 1861. 2, Voie Bach, + 1619, 4 Hana B. 4d, sfielmann 4. Johannes, Erfurt, 6. Christoph ; Erfurt and Arnstadt, 5. Heinrich, Arnatadt, eat ies eas L L 1 f 1 : j 1s.4s0n wlan, 1. doo 5 Joh, 2, bon. eon, 0. Jon, Garin, eae, Gault, atl, att Ma, ees, a na oenale ios? eS, SSN tease tess rad, \, i i Fon, a4 bon, oh, vhontin, nil son ar. Joh. Beiniahl, — ohtigt oth, Ton a0: sebastian, Meals, Bowe Cuneo Sees: | Bete, Nyce TEENS, 10864T ey reise, 28, Jon, Benet, a8 fe Baar i mill was at work. He died March 8, 1619. But the real musical ancestor of the’ family was Haws [3] (Sp. i. 7), the son of Veit, born somewhere about 1580, and mentioned ¢ player'—that is to say, a professional jan, Fle was also a earpet-weaver, and is said to have been of a cheerful temperament, full of wit and fun. ‘These characteristics aro alluded to in a portrait formerly in the posses- sion of Emanuel, in which he was represented as playing the violin with a bell on his shoulder, while below isa shield with a fool’s cap. His profession took him all over Thuringia, and he was well known and beloved everywhere, He died Dec. 26, 1626, in the year of the first great plague. Of Hans’s many children three sons deserve mention : JouANNES Bacu [4] (Sp. i. 14), born Nov. 26, 1604, apprenticed at Suhl to the ‘Stadt pfeifer,’ became organist at Schweinfurt, and perhaps also temporarily at Subl. After an unsettled life amidst the turmoil of the Thirty ‘Years’ War, he settled at Erfurt in 1635 as director of the ‘Ratha-Musikanten,’ and in 1647 became organist in the clurch there, thus representing both sacred and secular music. He was the forefather of the Bachs of Erfurt, and died there in 1673. His sons were Johann Christian aud Johann Aigidius (see below, Nos. 12 and 13, p. 145). Hetwricu [5] (Sp. i. 27), born Sept. 16, 1615. Asa boy showed a remarkable taste for organ-playing ; to satisfy which he would go off on Sundays to some neighbouring town to hear the organ, there being none at Wechmar. He received his musical education from his father and his elder brother Johann, probably during his residence at Schweinfurt and Suhi, and followed his father to Erfurt. In 1641 he became organist at Arnstadt, where he died . Joh! Gotttited 99. Joh. Ghriatonh 21. Joh. Bernhard, Friedrich, Buckeburg, Christa 715-39. eiee0s. 185-82 24, Friedrich Dehst Withelin, Dern, 759-1846. July 10, 1692, having filled his post for more than half a century. With him begins the line of Arnstadt Bachs. Besides his father’s great musical gifts he inherited his cheerful disposition, which, coupled with great piety and goodness, enabled him to overcome the disastrous ellects of the war, and so to educate his children, all of them more or less gifted, as to enable them to fill honourable places in’ the history of music. For the life of Heinrich we have com- plote material in his funeral sermon by Gottfried Olearius (Arnstadt, 1692). In “his sons, JOHANN Crntstori and JOHANN MIcHAEn (seo Nos. 16 and 19, pp. 146) and 1470), the artistic importance of the elder Bachs before Johann Sebastian reaches its climax. In Rit- ter's ‘ Orgelfreund,’ vol. vi. No. 14, there is an organ piece on the chorale ‘ Christ lag in Todes. bandon,’ which is ascribed to Heinrich Bach of his other compositions nothing is known. Cuntsrovn [6] (Sp. i. 142), the second son, Lorn at Wechmar, April 19, 1613, we mention last because he is the grandfather of Johann Sobastian. After a temporary post at the court of Weimar, and a stay at Prettin in Saxony, he settled at Erfurt in 1642, as member of the «Raths-Musik’; moved from thence to Arn-tadt 1653-54, anddied there Sept. 14, 1661, as ‘Stadt- Musikus” and ‘Hof-Musikus’ to the Count of Schwarzburg. Unlike his brother Heinrich ho ocoupied himself exclusively with the town music—the ‘Kunst-Pfeiferthum.’ Further de- tails of his life are wanting. His sons were— Gone Curisrorm [7] (Sp. i. 155), born Sept. 6, 1642, at Erfurt, first school teacher, then cantor at Themar near Meiningen, 1668 ; twenty years afterwards removed to Schweinfurt in the same capacity, and died there April 24, 1697. None of his compositions are now extant, but one, a cantata, ‘Siche, wie fein und