A memorial tablet with a grammatical mistake (wurde instead of
wurden) stands at the site of Bach's first home in Weimar. Now, the tablet decorates the wall of the Elephant's parking lot. |
Was Bach's "imprisonment" the reason it took such a long time before Weimar,
the city of writers and thinkers, erected a monument in honor of the musical
genius? Forget it; nowadays, any reason is a good reason to hold a Bach festival in
Thuringia, the man known to many of us as
Thomaskantor in Leipzig, Saxony.
Three of the major opening events of the
Thüringer Bachwochen
concerned Reformation and Music. Since they were
scheduled in Eisenach, our group took a coach that drove us from Weimar
through blooming landscapes (what former chancellor Kohl had promised in 1989
to East German voters) on newly built first-class roads - those you will only
find in the east of Germany.
We arrived at the Bachhaus in the midst of demonstrators demanding the state government of Thuringia to continue subsidizing the Eisenach theater and in particular to spend an additional 2 million euros to fill this year's financial gap. The supporting words Luther had once said during one of his famous table talks were written on a banner: Fürsten und Herren müssen die Musikam erhalten, denn großen Potentaten gebühret, die guten freien Künste zu erhalten. Und da gleich einzelne Privat-Leute Lust dazu haben, können sie die nicht erhalten.
In school my teachers had once taught me: When you use a citation you must quote literally. So here we go again: Könige, Fürsten und Herrn müssen die Musicam erhalten; denn großen Potentaten und Regenten gebühret, uber guten freien Künsten und Gesetzen zu halten. Und da gleich einzelne, gemeine und Privat-Leute Lust dazu haben und sie lieben, und doch können sie die nicht erhalten.
Only to translate its gist: Luther meant that the taxpayer should finance
cultural activities since private subsidizing is not always guaranteed. Is
Luther a socialist? One of Germany's richness is the variety of its cultural
heritage, the legacy of those small territories formed after the Peace of
Westphalia. All those wannabe rulers wanted to show off their own
orchestra and theater. Nowadays, their heritage is a nightmare for all public
coffers.
Bach's bust in Weimar was cast in 1950 but posted at the present location between the marketplace and Anna Amalia Bibliothek only in 1995 |
We arrived at the Bachhaus in the midst of demonstrators demanding the state government of Thuringia to continue subsidizing the Eisenach theater and in particular to spend an additional 2 million euros to fill this year's financial gap. The supporting words Luther had once said during one of his famous table talks were written on a banner: Fürsten und Herren müssen die Musikam erhalten, denn großen Potentaten gebühret, die guten freien Künste zu erhalten. Und da gleich einzelne Privat-Leute Lust dazu haben, können sie die nicht erhalten.
In school my teachers had once taught me: When you use a citation you must quote literally. So here we go again: Könige, Fürsten und Herrn müssen die Musicam erhalten; denn großen Potentaten und Regenten gebühret, uber guten freien Künsten und Gesetzen zu halten. Und da gleich einzelne, gemeine und Privat-Leute Lust dazu haben und sie lieben, und doch können sie die nicht erhalten.
Protest banner in front of Bach's monument in Eisenach |
Kitsch as kitsch can: Bach's head illuminated the discussion panel. |
Before we were allowed to listen to music, we had to participate in a
panel discussion and sing in an ecumenical service. The panel at the
Bachhaus, with two specialized professors, the musical director of the
Festival and the Landesbischöfin of the Lutheran Church of Thuringia,
discussed Luther's influence on Bach's music. The 500th anniversary of
Luther's posting of the ninety-five theses loomed on the horizon. The region
where the reformer dwelt is preparing for the 2017 commemoration:
In the beginning, was the Word.
I must admit that many of the wise ideas about Luther and Bach presented in the expert discussion escaped my brain, for my mind was
concentrated on an early remark the bishop had made in her
introduction.
Later in the afternoon, our group participated in an ecumenical service at the St. Georgenkirche jointly celebrated by the already-known lady bishop and the catholic (male, what else?) suffragan bishop of Erfurt. It was Palm Sunday, and I liked singing old hymns familiar to Catholics and Protestants alike. We also listened to Bach's Praeludium BWV 244 in h-minor, during the service to his cantata Tritt auf die Glaubensbahn (Step on the path of faith) BWV 152, and to the Fuge BWV 244 in h-minor as a postlude.
The highlight of the day, or rather the evening, was Bach's Passion,
according to St. Matthew BWV 244, performed by the Scottish
Dunedin Consort under the direction of
John Butt
again at Eisenach's St. Georgenkirche.
The orchestra was assembled, and I waited for the choir to appear. Eventually, only a dozen soloists stood before the musicians, completing the whole set-up. This small company sang solo and chorus parts, thus interpreting Bach's music with an unheard dynamic. The singers seamlessly continued without the usual pause between solo and chorus. We listened for three hours with only one short interruption. Although some of my body parts started to ache, Bach's wondrous music filled our hearts to the end: Wir setzen uns mit Tränen nieder (With tears of grief, dear Lord, we leave Thee).
Many regard this final chorus to be the apotheosis of Bach's work. Yet, my particular favorite is a weeping violin in concert with an alto: Erbarme Dich mein Gott, um meiner Zähren willen! Schaue hier, Herz und Auge weint vor dir bitterlich. (Have mercy, Lord, on me, regard my bitter weeping, look at my heart and eyes both weep to Thee bitterly.)
Note: I found the pieces of music on YouTube where the final choir and the soprano aria are not interpreted by the Dunedin Consort.
1517-2017: 500 years of Reformation: Im Anfang war das Wort |
She had claimed that the church's makeshift with the authorities had
fortunately ended in 1919 with the toppling of the princes following the 2nd
Reich's defeat in World War I. Sorry, but this was not just a makeshift. It
had always been a two-fisted community of throne and altar wholly united in
the formation of obeying subjects.
Later in the public discussion, my query concerning the bishop's remark was one of only two from the audience: I claimed that the pact between the throne and the altar did not end in 1919. It is sufficient to mention the formation of the Lutheran Reichskirche in 1932 and the Konkordat the Reich signed with the Holy See in 1933 during the Nazi period. Even nowadays, the influence of the two Churches on German society is still significant while the number of churchgoers is declining.
Later in the public discussion, my query concerning the bishop's remark was one of only two from the audience: I claimed that the pact between the throne and the altar did not end in 1919. It is sufficient to mention the formation of the Lutheran Reichskirche in 1932 and the Konkordat the Reich signed with the Holy See in 1933 during the Nazi period. Even nowadays, the influence of the two Churches on German society is still significant while the number of churchgoers is declining.
Later in the afternoon, our group participated in an ecumenical service at the St. Georgenkirche jointly celebrated by the already-known lady bishop and the catholic (male, what else?) suffragan bishop of Erfurt. It was Palm Sunday, and I liked singing old hymns familiar to Catholics and Protestants alike. We also listened to Bach's Praeludium BWV 244 in h-minor, during the service to his cantata Tritt auf die Glaubensbahn (Step on the path of faith) BWV 152, and to the Fuge BWV 244 in h-minor as a postlude.
St. Georgenkirche in Eisenach |
The orchestra was assembled, and I waited for the choir to appear. Eventually, only a dozen soloists stood before the musicians, completing the whole set-up. This small company sang solo and chorus parts, thus interpreting Bach's music with an unheard dynamic. The singers seamlessly continued without the usual pause between solo and chorus. We listened for three hours with only one short interruption. Although some of my body parts started to ache, Bach's wondrous music filled our hearts to the end: Wir setzen uns mit Tränen nieder (With tears of grief, dear Lord, we leave Thee).
Many regard this final chorus to be the apotheosis of Bach's work. Yet, my particular favorite is a weeping violin in concert with an alto: Erbarme Dich mein Gott, um meiner Zähren willen! Schaue hier, Herz und Auge weint vor dir bitterlich. (Have mercy, Lord, on me, regard my bitter weeping, look at my heart and eyes both weep to Thee bitterly.)
Note: I found the pieces of music on YouTube where the final choir and the soprano aria are not interpreted by the Dunedin Consort.
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