In another area, too, German culture in the eighteenth century produced
achievements of enduring significance. Merely to mention the names of
composers in eighteenth-century Germany is almost to summarise the history of
that century’s classical music
per se
: Johann Sebastian Bach (1685–1750);
Bach’s sons, particularly Carl Philipp Emanuel Bach (1714–88); Joseph Haydn
(1732–1809); Wolfgang Amadeus Mozart (1756–91); and, entering a new
historical period, Ludwig van Beethoven (1770–1827). While H¨andel settled in
England (losing his umlaut in the process), and Haydn, Mozart and Beethoven
were largely based in Catholic Vienna, Johann Sebastian Bach represents the
heights of north German Protestant musical expression. From 1723, he was
cantor at the Thomas Church, Leipzig, where he wrote weekly cantatas for the
Sunday service. It is extraordinary, given the relatively mundane nature of this
task, that so many of the over two hundred cantatas that he wrote should have
been of such quality. But Bach is most remarkable for the mathematical beauty
and religious emotion of his great works: the Mass in B Minor, the St Matthew
Passion, the Brandenburg Concertos, the Christmas and Easter Oratorios, and his
sonatas for violin and cello, as well as the sheer technical virtuosity of his organ
preludes and fugues. As with the genius of Goethe, the genius of Bach defies
reduction, whatever may be said about the traditions on which he built and the
circumstances in which he worked.
By the end of the eighteenth century, Germany was established as the
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