Johann Sebastian Bach and the Protestantism of his day

When Friedrich Hashagen, a Professor of Theology In Rostock wrote hisa "Sketches of Johann Sebastian Bach as the Singer and Musician of the Gospel and of the Lutheran Reformation" in 1909 his work was hailed by musicians as a unique contribution. The musicologist Arnold Sobering called it a remarkable thing that a "Nichtmusiker" should be able to add to the literature of music. But Bach is a musician who requires and rewards study by non-musicians as well as by scholars of musical ability; and while musical and historical studies of Bach constitute a vast library of learnings the theological significance of this great Christian artist has only scarcely been touched. Biographers of Bach have made comment about the religious influences surrounding his life? Bitter and 5pitta had to be aware of these influences as they studied Bach, and Schweitzer was already distinguished in theology when he wrote his interpretation of Bach. Yet Hashagen was the first theologian without musical scholarship to undertake a study of Bach; and since Hashagen there have been only occasional remarks published on the theological meaning of Bach's music. Even Schweitzer when he wrote dealt with Bach as a musical artist, not as a theologian. The only extended theological study of Bach has been that of Hans Beach of Hamburg? and of Beach's work only "the first, background volume has been completed.It has been a concern t© explore the relation between theology and the arts (especially music) which has led another "Nichtmusiker" to undertake an examination of Bach in relation to the Protestant life and faith of his day. The first chapter outlines the basis for a redefinition of the meaning of sacred and secular in music, and the remainder of the thesis is concerned with showing how Bach, in relation to his religious environment,, demonstrates in his life and work this conception of sacredness...a conception which may not find ready acceptance on every hand, but which allows room for an extension of faith like Bach's to all of human life.Bach's relation to the Protestant life of his day (his re¬ lation t© Roman Catholic life and faith is a problem which lies beyond the scop® of this thesis) can be semi adequately only by first seeing the important place music was given in the evangelical Reformation, and by tracing the course of the Reformation theology until the eighteenth century, in which Bach lived. His life story, so often told, will b® retold only in order to demonstrate the depth of his theological concern! the remaining chapters will seek t© show how Bach made use of music to present and to convey the doctrines of evangelical Christian faith. Ihe illustrations chosen to show thii are selected largely from among those works for which Bach seems to have written the text as well as the music, These works serve especially to reinforce the contention that Bach's faith was essentially the evangelical faith of Martin Luther, and that Bach was in fact spiritually closer to Luther than to many of the religious leaders of his own day, This spiritual affinity between Bach and Luther has suggested the use of Luther's catechisms for an outline in which to set Bach's musical expression of his faith,Throughout the study Bach stands forth as a Christian musician, a man of consummate musical skill whose artistry was dedicated to Sod's glory. He therefore personifies the kind of faith which this thesis would set forth as the basis of sacredness