Abstract
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.
