Anna Magdalena Bach - Unsung Hero of Modern Cello?
What is the first piece of music you think of when it comes to Johann Sebastian Bach? Perhaps it’s the Mass in B minor, widely considered to be one of the most profound accomplishments of classical music. For many, it is the spooky, ebullient Tocatta and Fugue D minor, played each Halloween. The Cello suite no 1 is featured in countless films and commercials and widely considered to be foundational repertoire of any cellist. Others may choose the Prelude No 1 in C major for its cathartic, ethereal arpeggiation. However, what if you were to discover that Bach may not have been the primary composer for one, or perhaps all of these works? These are mettelsome claims made by Professor Martin Jarvis of the School of Music at Charles Darwin University causing backlash from Bach scholars.
Mass in B Minor
A monumental work for Mass by completed in 1749 based Bach’s earlier work Sanctus composed in 1724.
The Mass in B minor was composed over decades and comprised of earlier Bach works. However, it was completed one year before his death when he was mostly blind, thus requiring assistance from his wife, children or pupils to complete the manuscript. Was the assistance merely dictation or creative as well? There is also growing consensus that the Toccata and Fugue was composed by Bach’s contemporary Johann Ludwig Krebs . Adding to the controversy, early versions of the “Prelude No 1 in C major” appear in Bach’s second wife, Anna Magdalena’s notebooks as a work in progress.
Jarvis’ most extraordinary claim, that the cello suites, were likely composed entirely by Anna, stiles Bach historians as outlandish. This idea is investigated in the film “Written by Mrs Bach”. Anna, had a musical upbringing and could write and compose original music. Her father was a trumpeter, and her mother was the daughter of an organist. In 1721, she became a well compensated soprano singer at the court of Anhalt-Köthen, where Bach was Kapellmeister. Some evidence suggests he may have been a musical mentor for Anna since the age of twelve.
Written by Mrs Bach
This film suggests Bach’s wife, Anna Magdalena, wrote or contributed to his masterpieces
They married on Dec 12, the same year she was hired under both happy and tragic circumstances. Bach’s first wife, Maria Barbara, had died just seventeen months earlier, not long after losing newly born twins. The Chaconne for solo violin was written not long after and considered by many to be a dedication to her. The cause of death was not listed on the death certificate but illness and depression are considered to be contributing factors.
Prince Leopold
(29 November 1694 – 19 November 1728) of Anhalt-Köthen employed Bach as Kapellmeister between 1717 and 1723
Bach’s patron, Prince Leopold’s fiancé is thought to have lead the charge to terminate his role of Kapellmeister not long after his marriage to Anna, perhaps as a way to assert herself as princess. The termination would have been a quite unpleasant life change for the Bach’s. They were an aspiring musical couple with four existing children from Maria, one of whom was mentally disabled, and plans of growing their own family. The dual firing would have been akin to losing a lucrative record contract from a major label and forced to go independent.
The Bach’s moved to Leipzig in 1723 after accepting the role of Latin instructor and Cantor of the Thomasschule. However, the town’s patrons were musically conservative with regard to women and Anna’s singing talents were relegated to the shadows. In total, Bach had twenty children through both marriages and ten survived to adulthood. Despite these hardships, Anna played a significant role in managing their household, which revolved around music. She copied Bach's compositions and was closely involved in the music business.
St Thomas Church Leipzig
Bach served as musical director for 27 years until his death
Did Anna have more of a composer role in he family than mere copyist? Readers or experts may draw their own conclusions. However, it is not a stretch to recognize that Anna, would have undoubtedly developed some level of compositional prowess through mere proximity to Bach as his wife, copyist and musical tutor for the children. Her work, whether solely created, mere editorial contributions or composed through marital partnership, would have been attributed to her husband based on norms of the day.
In the Key of Bach
Biographical documentary about his life
If the Bach’s were composing today then they would undoubtedly attribute their works accordingly. It is not uncommon for music of any time to have many contributors in the form of lyricists, arrangers, or reimaginings of previous works for new instrumentation etc. Therefore, it is a worth investigating if things would have been much different in the 18th century when it comes to composing by committee. Did the pair write together?
Any help under the same roof would speed things along in an age of quill pens. While we may never know what, if any, compositional contributions Anna may have made under the Bach family moniker, we do know with high confidence that she was musically gifted. She is certain to have had aspirations, that existed under the social constraints of the day. The question is if, how and when would have Bach capitalized on these gifts in the interest of the family business?