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Updated: September 12, 2025
It was in the period of swift transition from Bach's fugues to Beethoven's Choral Symphony that Wagner was born, a period when musical Germany was in a state of tumultuous ebullition. Later we shall see for how much this counted in the growth of Wagner's genius. In the meantime it may be observed that in externals the world of 1813 was not so far removed from the world of 1750.
There is an affinity between them in which mind speaks to mind. Bach's wonder-work became his Bible; in it he read, and clean forgot that world of clangor heard no longer." This describes Wagner's own spiritual relationship to Beethoven, and the exaltation that must have been his on reading the symphonies, the Mass in D, the overtures. He exhausts himself in praise of each.
This is not without some interest for us, because, widely as Wagner's harmonies differ from those of Palestrina, we shall find that they too can often only be understood through the progression of the voices. The same is true of Bach's harmonies.
The British prisoners resolutely agreed to relate their experiences to one quarter only the authorities at home. The result is that very little is known among the British public concerning the treatment we experienced at Sennelager, for the simple reason that but a handful of men who were confined to the camp during the term of Major Bach's authority, have been released.
As one touches the organ, the imagination is awakened, and the unforeseen rises from the depths of the unconscious. It is a world of its own, ever new, which will never be seen again, and which comes out of the darkness, as an enchanted island comes from the sea. Instead of this fairyland, we too often see only some of Sebastian Bach's or Mendelssohn's pieces repeated continuously.
His enthusiasm for Schubert, Chopin, and especially for Bach, finds frequent expression. Bach's "Well-Tempered Clavichord" he declares is his "grammar, and the best of all grammars.
Several biographies and other articles in Schilling's Encyclopaedia, "indeed, all the articles signed A. B. M." 7. Editions of several of Bach's and Handel's works. To these we may now add his extensive treatise upon Musical Science, in four volumes, his "Music in the Nineteenth Century," and the work which is now before us. Of musical compositions we find the
John Farmer, musical director of Harrow School, took up much of my time. My dear mother had a passion for music, and Beethoven and Bach were her favorite composers. There was scarcely a sonata of Beethoven's that I did not learn, scarcely a fugue of Bach's that I did not master.
He recognized the mass as one of the great art-forms, equal to the oratorio or the opera. From Bach's time on, it may indeed be said to have been regarded in this light.
When I first heard it, with the clear march of the polyphony in Bach's B minor Mass fresh in my memory, I confess I thought that the parts had got dislocated, and that some of the band were half a bar behind the others.
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