Johann Sebastian Bach: Life and Work
by Martin Geck
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Book Summary Information
Author: Martin GeckTranslator: John Hargraves
Foreword: Kurt Masur
Edition: Hardcover
Audio: German (Original Language); English (Unknown); English (Published)
Published: 2006-12-04
ISBN: 0151006482
Number of pages: 752
Publisher: Harcourt
Book Reviews of Johann Sebastian Bach: Life and Work
Book Review: BACH NO HUMANIST
Summary: 2 Stars
This book, like most written about J. S. Bach within the last hundred years, paints a man who wrote "J. J." at the top of his compositions as a humanist! (The two "Js" stand for "Jesu Juva," a Latin inscription meaning, "Jesus, Help Me." These same manuscripts were ended with S.D.G. = Soli Deo Gloria or, To God, Alone the Glory.)
Men like Geck, with long strings of letters after their names, rush to derail the abundant and irrefutable proofs that J. S. Bach was a devout, believing and practicing CHRISTIAN, and they misrepresent him as a humanist. Some books, like this one are downright silly in proposing that a man who set to music more than five hundred deeply spiritual and Christ-centered cantata texts, did so while not believing a word of what he set. To accept the Bach as a humanist would mean that on every Sunday (except during Lent) and on all the major Feast Days, from 1723 to 1750, Bach's choirs sang a lie and he directed those lies.
Bach never wrote words himself, or set to music words of anyone else who believed or espoused the Humanists mantra: That mankind's strength comes "from within." Read the words to the recitative for bass in the Christmas Oratorio that state: "My Jesus, when I die, I shall not die eterally. Thy name upon me Thou dost write, which puts the fear of death to flight!" No one, who reads the texts to Bach's Pentecost cantatas can come away with any doubt that the composer truly believed in an in-dwelling Holy Spirit and in the life-changing qualities of that infusion of God's power.
To the unbeliever, these words are suffocating and seem excessive. But further familiarization with the texts Bach chose, reveal other, innumerable instances of just what he believed. Bach did not believe, as humanists would propose, that man is basically good. Bach did not believe that man can improve himself by merely being kind to others and by drawing upon some mysterious, self-contained strength.
To confirm this, read the margin notes he wrote in his Calov Bible. The book is in the library of Concordia College in Missouri, USA. The "New Bach Reader" contains all these notes with very clear explanations of them.
Further, Geck's book indicates that Bach was a pietist. This is clearly WRONG. Bach put up with a pietist rector in Muehlhausen and stomached the incursion and growing popularity of pietism, but he was an ORTHODOX LUTHERAN and he retained and practiced all the elements of that strong faith, inculcated in him and his father, Ambrosius, all his uncles and ancestors, going back to the earliest known ancestor, Lips Bach!
J.S. Bach set to music and wrote in his second wife's "Notenbuch," arias, recitatives, chorales and choruses that support the teachings of Martin Luther: That man's salvation comes only through the grace of God, as a gift. It cannot be "earned" or "bought" as the Roman church had taught. He believed, as Luther did, "By Adam's fall, we sinned, all." Further, as Luther knew, Bach knew that good works are not the recipe for eternal life.
Humanists believe doing good is what makes a person better. Luther (,St. Paul) and Bach believed people are worms to start with and that once you had accepted Christ's gift of salvation, one would WANT to do "good" in order to serve their new Lord and his creation. Geck apparently does not share or understand this, so he (and others) attempt to ignore or twist Bach's Orthodox Lutheran beliefs to suit the revisionist and humanist view of what the sermons and cantata texts in the Thomaskirche stated clearly.
This is a long treatise on Bach's beliefs, but a full explanation is required to point out how misguided and uninformed Geck and the others are, when they minimize, debunk or distort Bach's beliefs and replace them with what most of "academe" thinks is a smarter and better-informed interpretation of them.
The book does reveal Geck's sometimes extravagant conjectures about known happenings in Bach's life, but I could not discover anything new and useful. Instead, I found a tiresome re-hashing of popular fable and baseless and untruthful revisions in what Forkel and Spitta wrote about when it came to the great Sebastian's beliefs.
Michael Lonneke
Round Hill, VA
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