Lecture 16. Baroque Music: The Vocal Music of Johann Sebastian Bach
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today we're going to start talking about music of the Baroque Period 1600 to 1750 exemplified uh by JS Bach today will be the first of two presentations about the music of Bach one today dealing with box vocal music the other coming in sections yes we have sections on Thursday Friday and Monday having to do with the instrumental music of jsbach so we're going to start now with Baroque music and Bach and a word first about Bach's uh biography Bach came from a very long line of M musicians indeed 10 generations of boxs were musicians goes back to Old vit Bach in the 16th century and continues generation after generation into the 19th century in the area in which Bach was born this small town of aeno you can see the town's name up there and the date in which was born 1685 in this area of theoria the region in which isano sits the word Bach was aonomus in other words aach simply meant a musician a musician just like we have the word Kleenex for example or we have the word Xerox that begin to take on the connotations of an entire class so to be a Bach in that area was to be a musician Johan Sebastian Bach was simply the most talented of this long lived clan of musicians from the age of nine JS Bach was orphan both his parents had died by that time so he was raised for the most part by his older brother Johan Kristoff Bach who was a student of our Johan pabel so there is this connection between the box and uh pabel and for the most part jsbach was self-taught how did he teach himself music well he copied music he copied music for two reasons one to learn the musical style and two to get music because you simply couldn't go to a photocopy machine uh and copy this the music of Corelli or the music of avaldi uh you had to copy it down yourself by hand you couldn't go to a music store and buy edited additions because for the most part that didn't exist so much more of it was simply music copied by one musician after the next So Bach learned his craft by copying literally Corelli and we have run into Corelli of course anybody remember piece by Corelli that we performed Frederick laia excellent uh and he copied Vivaldi what's baldi's most famous composition Frederick again the Four Seasons so uh so he copied that and he also copied uh some other kerti grossy of of Vivaldi uh often times surreptitiously By Moonlight when he was supposed to be in bed Bach's Devotion to his profession was legendary when he was a young man he sort of went awall from his first job and walked from the town of arot which you see up there uh walk from arot in the center part of Germany all the way up to the htic city of Lubec on the North Sea up there a distance of about 250 mi in order to be able to uh at the feet of a very famous organist and composer there and Lubec and then he walked back it would be like one of us wanting to learn something from a congressman or something and walking from New Haven to Washington DC and back in his day Bach was legendary not so much as a composer oddly enough but as what what was Bach known for in his day we touched on this before Angela he was an organist okay so he was an organist he was the the great virtuoso organist of central Northern Germany uh in this period now we have met a organ piece of Bach before what was that uh name Michael Mitch okay yes what was that please G minor G minor fuged can you sing any of it could anybody sing any of it hey we got some takers down here Chris and AJ together a duet Gentlemen please [Music] excellent oh wow Bravo [Applause] okay I think that's sort of the key that they sang it and we'll come back to that idea in just a minute because uh I found myself tripping over that fug subject in another one that I want to talk about this morning as I was trying to think through these there's another famous piece organ piece of Bach that we might have heard recently do we have the Takata cued up there it should be track one let's listen to a Takata by Bach written in Orange do early in his career whoa where did that come from that's oh I know it's in the M it's they were in they were in the bay we lost the CD this morning so it's sitting in the machine how interesting sometimes uh our CD player eats our machine for days on days on end and then only belatedly spits it back out so do we have that uh okay we don't have that cute I'm sorry but you probably heard it at the concert the other day it's a big organ piece in D Minor kind of spooky music that begins every Halloween show well that's more organ music by jsbach we may be able to to resurrect that after a while we we'll find out uh and again a piece that he composed as a young man here in the town of arot roughly 1705 or so so there he is uh first job uh we won't say fresh out of college because Bach did not go to college but he went to a very uh High uh standing Prep School in the northern part of Germany just graduated has his first job at arot let's take a look at Raul here is the picture of our great man but let's go on to our our first uh real slide there and I think everybody see that okay that's the organ in the church at arot where Bach worked uh the organ is still there uh the the essential parts of the pipes and all are still there that's the very organ that boach play but they've sort of modernized it over the centuries and they took out the original console so Raul if we could have the next slide please and there is the console this is kind of the central processing uh unit if you will for a box organ so you can see does that look like a big organ or a small organ to you by our standards kind of on the smallest side there were bigger ones actually up up to up to the north uh but you can see here some of you did that extra credit credit project on the organ two keyboards and a pedal board down here to be played obviously with the feet and what do you suppose these things are working all around it what what would we call those we're going to pull one of those a stop okay and it brings into play an extra rank of pipes pipes of a particular sound and we have this expression oh I'm going to pull out all the stops well of course that has to do with organ technology so this is boach uh the console in effect of Box's original organ uh boach eventually left arot and moved on to the larger city of viar uh where he stayed as you can see there from 1708 to 177 uh 1717 And he functioned as an organist and a court uh musician there in 1717 he decided to leave that position in viar and move on to another town curtain and the Duke of viar Duke vilhelm summarily had Bach thrown in jail Bach was thrown in jail for a month sat in jail languished in jail we think he started the well-tempered clav uh while in jail why did the Duke have Bach thrown in in jail any ideas well he hadn't obtained a release from the Duke and this tells us something about the status of musicians in the 18th century they were little better than indentured servants no such thing as free agency here not like baseball players or whatever today uh if you wanted to take another position you had to get your Pres pres employer to say okay it's all right if you go imagine that today you want to quit your job and move on to a better job where you can't leave until the present boss says you can go but that was the case and Bach had violated that modus operandi and there he languished in jail for a month finally the Duke of aimar uh relented and off Bach and his family went to the town of curtain let's take a look at the next slide please the town of curtain um again sort of central Germany this is an engraving of of the mid 17th century and we can see here the court building of complex plexes where Bach worked there in the center now we're going to go to the front of that next slide uh as it stands today it's rather heavily damaged after communist occupation after World War II uh rather not in the best state of repair you go inside the courtyard there uh next slide please going in and you can see it's something of a mess because they are fixing up that room and indeed have fixed up that room up above let's have the the next slide uh please uh and here is that room up above uh the so-called now Crystal room of the palace at curtain and this was where Bach performed and when you go to sections this week you will watch a wonderful video of a performance of the bach Brandenburg conero number five performed right in this Hall you'll see those same Windows there this is box music uh performed performed in the environment for which Bach had created in 1723 Bach moved again he was an aggressive uh um ambitious uh person JS Bach he moved this time to the city of leig leig a little bit to the south of curtain and he spent the rest of his career in leig he moved to leig in 1723 for two reasons and we'll come back to those two reasons but while I have this slide up here let's just put this in context a little bit you can see where Berlin is there you can see where Lubec is where he walked all the way at the top this is Central Germany here and these towns aren't too far apart here's curtain here's leig so 1723 he goes to leig and he goes there for two reasons one next slide one because his family will be given by the standards of the time rather large Quarters here actually by our standards they were very small 900 square ft Bach ultimately had 20 children and they were living in 900 square feet ask yourself do you know how many square feet are in your parents apartment or home a lot more than 900 but that this was thought to be big digs back in the 18th century in these cities that were encased by military fortresses in any event we can see box working area and living area right here in this building and I want you to count the number of stores because it will become important later on 1 2 3 and then the roof begins uh and I also want you to it's hard to see on the slide but there's a group of choir boys walking out here how do I know they're choir boys because they're arranged by height ever look at choir boys that's how they arrange them when they walk in procession the young kids first the older ones uh toward the back we'll come back to that point uh in in just just a minute um another reason Bach moved to lii was it was a university town so he could get a fre free University education for his numerous Sons what about his numerous daughters did they get a free education at the University no because women did not go to the university in this period the first woman to receive a degree uh a college degree in a Western University uh was a woman enrolled in philosophy at the University of Padua in 1676 1676 so it would be unprecedented really I mean there was one precedent uh in box day for women to go to university it was assumed that just the men would go to university in any event let's talk about Box's uh standing here in the town of leig Bach had to petition for this job he wanted this job because it had these advantages as mentioned uh and he was not the first choice of the Town Council of liik uh there was another composer who was their first choice gor phip telon he um declined the position they offered it to somebody else named grer he couldn't get a release from his employer so he couldn't take it and so as the town minutes uh of the uh Town Council the minister of Town Council say since uh good musicians can't be had will H mediocre ones will have to suffice and they turn at that point to Bach uh which I guess calls us to ask uh how many misjudgments are we making in our lives maybe uh AJ doesn't realize that sitting right next to him Chris there is really a genius and and we should pay more attention how many Geniuses are sort of sneaking around in our midst unrecognized uh today anyway Bach was anything other than the gred artiste uh when he arrived in lii uh here I've made some xeroxes out of my book called The Bach reader when Bach got there he had to take an oath of office he had to swear to do the following one I shall set the boys a shining example of Honor and retiring manner of Life serve the school industriously and instruct the boys conscientiously two bring the music on all the principal churches of the Town into good estate to the best of my ability three show The Honorable and most wise counsel all proper respect and obedience and so on it goes here are a few more things Faithfully instruct the boys not only in vocal music but also in instrumental music and he had to teach them Latin as well uh arrange the music that it shall not last too long ah and shall be of such a nature as not to make an operatic impression but rather incite the listeners to devotion so they didn't want box music to go on too long which is very important and they didn't want it to be very operatic they wanted sort of conservative music there uh here's number 12 not to go out of town without the permission of the honorable Burgermeister uh number 13 always walk as far as possible with the boys at at funerals So Bach here in leig is sort of a glorified scoutm he's he's not this kind of 19th century image of the genius or the of the gr Artist as mentioned uh okay the point being once again the boach in his day was recognized and valued not so much as a composer but as a performer well what was a matter with box music why did they already at the outset here sort of clipping his wings telling him what style not to write in well Bach had this proclivity for writing music that's very sort of rigid very chromatic very contrapuntal and very long and it is long and contal as we will be seeing in particular in in sections uh this uh coming uh week if we compare for example to caneri Grossi the first movement of of of A's spring concerto it lasts three minutes and 10 seconds Bach writes a first movement of a coner gr so you're going to watch a video of it it runs for 9 minutes and 10 seconds so it's three times as long three times as as dense in a way um okay let's uh let's go on to talk about the kinds of things that Bach composed here and for that we'll take take a look at uh at the board um box works some of these we've talked about already preludes and fugues for harpsicord or keyboard the well-tempered clav we've talked about the G minor organ fug we've we can talk about the art of the fug uh let's Raul let's have the next slide uh I think I've got a slide of that here uh no wrong piece okay sorry uh this is the bach brandenberg I brought in the wrong slide I'm sorry uh but the art of Fugue uh is a uh interesting composition that Bach wrote very much toward the end of his life sonatas for flutes and violin Viola uh dance suites for orchestra you may know the air on a g string beautiful beautiful solo violin writing there with baso continuo underneath solo concertos for violin and harps Accord uh the um conery grossy that we'll be talking about the Brandenburg keros will be working with number five then he wrote a lot of religious vocal music the B minor Mass I was playing parts of the Sanctus of the B minor Mass uh when we when we came in uh Linda this is going to really mess things up do we know what Tri where we have that sanus where the Bach b minor M mass is it's track 10 if you can get to the CD let's just listen to a little bit of this is on the Fly this morning but let's just listen to a bit of the Sanctus of the B minor Mass to give you a sense of the the the Monumental quality that Bach can create [Music] [Applause] [Music] dark [Music] [Applause] [Music] [Music] so pretty impressive stuff but it goes on for a long time and it's filled with with imitation and Fugal subjects that recombine in different kinds of per mutations can be inverted and go backwards and forwards and upside down uh and this is what Bach would do if somebody would write a a set of V variations that had 10 variations in it he would write a set of variations with 20 variations in it if somebody would write one Cannon he would write uh 10 cannons as he does for example in the Goldberg uh variations whatever he did he sort of prosecuted maniacally and what he ended up with with stuff that's that's very dense very compact is really the best sort of craftsmanship but it's not necessarily the most sort of popular music in in that regard but as you he heard it can be uh very uh Grand and and quite spectacular as we heard from the Sanctus of the B minor Mass there when Bach arrived in leig it was a town of 35,000 and was one of the biggest in Germany does that sound like a big town to you 35,000 no I mean hamen probably has 35,000 people living in but this was a big city in in Bach's day um and he was called there to run music uh for really for all of the Lutheran churches in that town now the we're talking here uh leig which is not far from Wittenberg where Martin Luther uh uh was active so we're talking about kind of the the the hom ground of Lutheranism here and leipsig enjoyed complete freedom of religion uh you could attend any church of course this was all Christianity you could attain attend any church that you wished any church that you wish there were a dozen or so of them in this city the only kicker was that they were all Lutheran Churches you go to this Lutheran Church or that Lutheran Church whatever one you want but they were all Lutheran Churches so Bach's job was to organize the music for these churches particularly the principal Church which was this St Thomas Church church and what he wrote for this St Thomas Church was this thing called the canata what's a canata well literally it's a sung thing as opposed to a Sonata Sonata sounded thing so this is a sung thing what can we say about the canatas that Bach wrote how would we summarize them well they are multi movements uh retive Arya chorus multim movements they go on for about about 25 to 30 minutes they are religious uh in um subject matter and of course they are written in the German language and Bach wrote about 300 of these canatas he wrote them in cycles of 50 when he arrived there in 1723 he starts writing one caner each Sunday the end of at the end of the uh year he's got about 50 of these things next year he starts all over again so he ended up with about 300 Canadas then he got exhausted from the process and stopped about 1729 1730 or so now on the board up here you see the layout of a uh typical uh canata uh it is vet arise a voice is calling and here's here's I hope you can see this okay here's how it shakes down we have seven movements in this canata seven movements um and they are arranged chorus then res what's a restive somebody tell us what a restive is we haven't talked about it but maybe you know from other context uh Jacob yeah okay it's not much music more sort of spoken dialogue accompanied a little bit by abaso continuo abaso continu anybody tell me from the reading what a baso continuo is well I think if you look on your text in about page 114 you'll find a discussion of it but a baso continuo is um an ensemble that plays a Baseline and because a number of instruments are involved in it be the left hand of the harpsicord maybe a cello maybe also a bassoon two three uh instruments playing a baseline it makes for a very heavy very powerful Baseline and this is something that is typical of Baroque music so a res will be a company and indeed all the Aras will be accompanied by boso continu the coral stuff will be companied by baso continu Continuum is just always going so it's a strong base that's always going it's different from the baso atinado because what happens in a baso atinado you it keeps repeating over and over and over over again so a boso atinado would be of a particular kind of boso continuo kind of species of baso continuo but baso continuo a base that's always going on and is very strong so we'd have sort of spoken dialogue with a strong base then an Arya and I'm going to say something about this these Aras in this period they are Dapo Aras in the Baroque Period what does a Dapo ARA mean anybody peaked ahead that or in discussions in around Pages 150 160 or so in the text or know that from uh other contexts what would a Dapo Arya be well literally Dapo you know sounds like a film score the Capo or something it means the head the head guy or in this case the beginning of the music the head of the music means you take it from the beginning of the music so you do one section an a section and then you have a contrasting section and then you get this sign that says DC Doo and then you go back and do the a section all over again so what form do we end up with when we have a deapo ara then obviously Turner re form okay so the Aras in here are usually struck shed in the Baroque Period in a Dapo form and then we have the choruses chorus one chorus 4 chorus 7even and in each of these choruses we are making use of this thing called a Corral tune a Corral tune what's a Corral what's a Corral tune well Corral tune is just what uh other Christian denominations would call A Hymn or what we hear at Yale whether we're uh Muslim whether we're Jewish or uh whether we're Christian we're going to have to sing d and so on it goes I think it's called Duke Street oh God beneath the oh God above the rising stars of thy exiled fathers cross the sea it was actually written here in New Haven so it's kind of the Yale hymn if you will or maybe the Yale Corral um so these Corrals were sort of old Melodies old religious Melodies some of them were sort of remakes of gorian chants the lutherans just took old Catholic chants and turned them into Coral Tunes others were newly composed going all the way back to the 16th century Martin Luther himself composed uh Corral Tunes anybody name a Corral tune or a hym tune of Martin Luther I bet [Music] you anybody know the name of that yes uh Christen is it okay nice and Loud please christiany Fortress okay A Mighty Fortress is our God it's a Reformation so the Reformation coral and uh musicians have used that frequently over the over the um over the centuries um so we're going not going to be working with A Mighty Fortress we're going to be working with a different Corral tune vet alua which was a couple years old by the time Bach got his hands on it and you have it here so on your sheet everybody got the sheet for today maybe I'll turn the lights back on Just moment see a little better that's a little better oh that's even so here is a Corral tune and it's in lots of phrases right um what about this [Music] do you think that's a tonal Melodies does that sound pretty secure uh for you or does that sound sort of weird Roger what do you think sounds secure um it is tonal and why would you imagine it sounds secure if you look at the downbeat of each measure uh almost every measure What notes do we have there they're notes that form a Triad a major Triad so we mustn't forget all that stuff we studied early on so here's Bo or borrowing a Corral tune that U is is foregrounding a a major Triad in a big way and uh who has to sing this well ultimately the full congregation everybody has to sing these Corral Tunes to to show that you are a in this case a good Lutheran I suppose um so everybody was be expected to sing them and because of that they tended to be rather stepwise so we should all sing this right today we're all going to be good lutherans no matter what our real religion is assuming we have a real religion so let's um let's start here and we're just going to sing law here we go la la la la la la la la [Music] okay great now this is this is not working so well and why is it not working so well it's too high so what would Bach have done in those days the only person here that can sing this is Le uh Linda and santen because they're Sopranos and I I could hear them uh but that was about all I could hear um it's too high so what would they have done in box day stop singing it I know lightning bolts would come down on the church or something I'm not quite sure no they couldn't stop singing it they had to transpose it just take it down they'll make it lower s me let's go we'll go to a different key here we go ready sing La [Music] La [Music] rest louder la la la la la la la la okay we'll stop there we'll stop there so box got this Corral and then he's going to do something with it uh and what he does is write a first movement so that takes us back over here to movement one of of our of our uh Corral um we're going to talk now about the text uh uh uh uh with regard to this particular um Cor what's the text calling about well here's what here's the translation of it awake a voice is calling from The Watchmen from high in the tower awake Jerusalem midnight is the hour they call us with a claran voice where are the wise virgins get up the bridegroom cometh stand up and take your lamps Allelujah provide yourself for the wedding go M you must go out go forth to meet him um now in Box's day this Corral would have been sung it's the major musical portion of the canata which is the major musical portion of the whole service which was sung right after the reading of the Gospel so they'd come in and there'd be some introductory Corrals and prayers and that kind of thing then they would have a reading of a gos of the Gospel the the thesis of the day now this particular canata is written for Advent so what's Advent who can tell me what Advent is don't necessarily have you know Muslim Jew Christian whatever you may probably know what Advent is that is it's the days before Christmas so we have the English word adventitious something coming something about to arrive it's the birth of Christ in this particular case so it's I think roughly the four weeks before Christmas think maybe late November early December up to Christmas so so that's when this Canada would have been uh would have been appropriate it would been sung say the on the Sunday the 1st of December something something like that and as I say it's preceded by the gospel of the day so to get our heads in this we have to understand what box message is here we have to know what the gospel is so I've asked Chris I gave Chris the textbook here I put the the textbook in there ask Chris to read the gospel for today so ST stand up and or yeah you going to stand up then shall the Kingdom of Heaven oh good I like that nice and Loud the the the voice of God virgins which took their legs and went forth to meet the bridegroom and five of them were wise and five were foolish they that were foolish took theirs but took no oil with them and at midnight there was a cry made behold the bridegroom cometh go ye out to meet him then all those virgins arose and trimmed their lamps and the foolish said unto the wise give us of your oil for our lamps are gone out but the wise answered saying not so least there be not enough for us and but go ye rather to them that sell and buy for yourselves and while they went to buy the bridegroom came and they that were ready went in with him to the marriage and the door was shut watch therefore for ye know neither the day nor the hour where in the son of man okay excellent and then that's the King James version of that so the the the syntax is sometimes difficult and the verbiage is a little bit unexpected there but what does all this mean what is this Roger uh the second coming of Christ okay uh and what are we supposed to do we good citizens of lipsig what are we supposed to do be ready get our spiritual house in order because Christ is coming so Bach has this idea of this powerful figure coming into the midst of lii and he creates the following kind of music we start out here with dum dum and then it begins to move a little bit in Pitch it's a good example of of uh something that we'll talk about in a moment but if we want to have the sense of the inexorable March of something what better way than a repeating Baseline then we have a Melody begin and then we didn't have time we have a C motive that we want to put up here so when you read your textbook there I interpreted this as follows uh you will you will hear someone saying I.E me saying that uh this is the inexorable March of the Lord coming to the citizens of leipsig they get very excited and they begin to run in his Direction um and this is the you know boach didn't write all this down I'm kind of interpreting it this way but I I can't help but think back on the early session that we had talking about the Musical Chicago and that uh that number in Chicago uh get the the gun the gun and it gets faster and faster and the texture gets denser and denser well that's exactly what Bach is doing here whether it's Broadway or Bach the the modus operandi is going to be the same so let's listen to just a little bit here this is the opening movement of box vet [Music] okay we're going to stop it there that's just the open inning phrase and the crowd's coming in uh with little Fugal expositions underneath that who where coming where sort of this busy Counterpoint underneath I used to use this as a listening exercise but it didn't work it was too I couldn't get the students couldn't respond I don't know did it just was too complex and in a way it told me something box music is very very complex so I went on to a I think a more straightforward movement and that's what we're going to do now the Fourth Movement that incorporated at the Corral so we have the the Corral sort of like the voice of God up here on top let's go on to the Fourth Movement uh that you may well recognize it's one of Bach's most famous compositions and I have three questions for you here uh what's the base doing how many uh voices are there how many lines strands do you hear in the texture and where is the Corral tune who's singing the Corral tune so this is movement four of canata vakad Al [Music] [Music] to [Music] and then the roro starts again this refrain theme starts all over again all right let's pause it there so what kind of Base do we have here it's called Walking base right we've talked about that before uh and once again it gives a very sort of secure uh foundation so we have a baso continuo playing a walking [Music] bass something like that just going on and on sort of with the same note values tends to be stepwise have the same note values uh what else did we need to know there what happened to the Corral well first of all well what about the texture how many strands did you hear in that texture ran and Nicole you want to huddle out there and figure out what the answer to this one is what what do you think Nicole how many uh how many strands how many lines did you hear there okay well we've got the base in there and we had that lovely lovely Melody which you have on on your sheet there uh so that's two and what was the third one well the coral tune but what was different about the coral tune this time it was easier to hear why because all of the male voices were singing it together in unison it wasn't distributed in all this CounterPoint in all of the Vo voices all the line uh all the voices were singing it together and if you have this sheet here I think the miracle of this particular sheet is that this guy thought had this one Melody Y and he said Gee Whiz you know if I went y I could I could have that go against this melody he he thought he had one nice melody and he thought up an even more beautiful Melody that could interweave with his given Melody so that's the gift here to to to be able to hear one thing and uh size up its implications to know what it could become I guess that's what a great creative artist is all about to know what something can become all right so we have uh that particular movement and I think that's the basis of your listening exercise 22 uh for next time um now uh we're getting toward the end of our hour and I want to ask you um well we're going to do two two more things one we're going to come back at the end to the end of the canata uh but I want to ask you a question uh about and just try to put yourself in box shoes here for the moment you got this job as a composer and you got to generate all this music right you got to generate 25 to 30 minutes of new music every week well that would be like all right so presumably you get Sunday afternoon off watch football whatever you want to do then Monday morning you start all over again and by next Sunday morning you got to have 25 to 30 minutes of Music ready to perform why is that really hard what's the hard part of this what's the time consuming part of all of this uh I see uh Roger and Elizabeth Elizabeth Go With It wrting writing it out yeah probably not composing it I think these composers just have this stuff spewing out of their ears nonstop I don't think it was thinking it up and maybe not rehearsing it though that would take some time but before the days of copious machines uh it would be very laborious to copy the full score and all of these parts maybe 14 different lines simultaneously and multiple copies of the violin parts and the cello parts and this kind of so it'd be very time consuming how did he do this well let's see if we can go back to uh the next slide here and we're going to talk about this just for a bit how did Bach um execute this and the next um Raul I think there was a yeah so we're going to go back into our church here and we're going to see box Church uh where uh his um uh the floor plan here and then we're going to next slide please take a look at the inside of it where the sermon was preached and take a note of the high altar up there next slide we're going to go through these quickly now uh there we have the West end up there where the Oregon is that's where the canata would be performed formed next Slide the organ up there here's a question for you is this an organ from box day next slide that look like box organ n too many mechanical mechanical contrivances there so that's a organ from the beginning of the 20th century and box organ would have looked far more like this and we're going to talk about this in section A little bit later on moving on let's go back to this because this is the building that we saw before the place where Bach lived if we look at it now and start counting up we see that now there are five stories before we reach the roof line in 1731 Bach petitioned the Town Council because of his large family to take the roof off of this building and provide him with more space more space because he had all of these children he had relatives and he had students living in these quarters and what did they do to earn their keep well they copied music for him so this is sort of if you will the corporate headquarters of Bach Inc this is where all this great music is being generated from his wife Anna magdalina Bach was his principal uh copyist all right so that's uh that's what uh where they live now Bach of course as mentioned died in 1750 historians are profoundly grateful to him for that because it gives us a nice clean cut off by which to end the Baroque era end of Bach end of Baroque died in 1750 of a stroke at age 65 at the time he wasn't thought to be particularly important so they relegated box remains to an outlying Parish Church as Mozart played boach Beethoven played boach Felix melon played Bach people began to realize that lo and behold they'd had a genius in their midst so they exume Bach to see if he was a genius let's take a look at this this is what they did in 1895 they dug him up and they photographed him because this was the period in which there was a theory of Genius interestingly enough that the genius had a smaller brain than the normal human being not a larger brain but a smaller brain uh in any event box brain turned out to be just completely normal and this was presumably a lot of nonsense but when they dug him up then they repositioned him and they repositioned him at the high Altar and this marker here is now where the remains of Bach are situated and and they tore out the South Side Bank of glass in the church and constructed based on the photograph that you saw at the beginning of our hour that photograph um uh they constructed stained glass windows with titles of some of box works there so that the musical tourist such as myself or I hope you someday will go to leiping uh to uh enjoy the wonderful music of this city and the wonderful music of Bo now the last thing we're going to do on our way out the way the canata would end is that the entire congregation would stand up and everybody together would sing the Corral tune we're not going to do that because you already did that uh but we'll just play this music as you go out to give you a sense of how this the service would end [Music] his [Applause] [Music]