19.11.2012 Views

J. S. BACH Jonathan Berkahn - Victoria University - Victoria ...

J. S. BACH Jonathan Berkahn - Victoria University - Victoria ...

J. S. BACH Jonathan Berkahn - Victoria University - Victoria ...

SHOW MORE
SHOW LESS

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

attitudes were representative, or even very influential. The music of J. S. Bach<br />

remained a minority taste for much of the nineteenth century. Most of his admirers—<br />

many of them expatriate Germans—came from outside the musical establishment<br />

(could Bach have appealed so much to Samuel Wesley otherwise?) Nevertheless, for<br />

Wesley at least, what the Bach movement lacked in size and influence it made up in<br />

passion and cohesion. At one point he proposed ‘the Formation of a junto among<br />

ourselves, composed of Characters who sincerely and conscientiously admit and<br />

adhere to the superior excellence of the great Musical High Priest; and who will bend<br />

their Minds to a Zealous Promotion of advancing the Cause of Truth and Perfection’,<br />

this ‘In order to ascertain who are verily and indeed “The Israelites in whom is no<br />

guile”’; 78 a Davidsbund before Schumann, so to speak. As with the Davidsbund, it is<br />

doubtful whether Wesley’s ‘junto’ had a very concrete existence outside its creator’s<br />

mind. He goes on to compare the state of music in England to that of the Roman<br />

church before the activities of Martin Luther, and advocates a form of musical<br />

Reformation: ‘It is high Time that some Amendment should take place in the Republic<br />

of Musick, and I know of no engine equally powerful with the immortal and<br />

adamantine Pillars of Sebastian’s Harmony. I really think that our constant and<br />

unremitted question to all who call themselves Friends to excellence should be “Who<br />

is on our side—who?”’<br />

The theological underpinning of Samuel Wesley’s rhetoric goes much further<br />

than the occasional religious metaphor. Unlike that of many other nineteenth-century<br />

musical theorists and critics it is in no way submerged, but fairly leaps off the page.<br />

The first of his ‘Bach’ letters begins by referring to ‘Saint Sebastian’, his works ‘a<br />

musical Bible’, speaking of ‘our Demi-God’, and Wesley’s own ‘profound admiration<br />

(and Adoration if you like it as well)’—all this on the very first page.<br />

78 Letter to Benjamin Jacob, 13 August 1808, Olleson, Letters, p.71.<br />

172

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!