The sons of J.S. Bach provided this new-style music. It was more “melodic” and “colorful.” Their music was less stuffed with the “frills” of their father’s Baroque styling. The structure and sequencing of forms in the music of Bach’s sons was more predictable (a highly structured sonata form becoming prevalent). Bach’s sons championed a new “classical” style that was being widely embraced by other composers—especially Haydn and Mozart. J. C. Bach (the “London” Bach) actually spent time with Mozart and his influence on Mozart’s music is quite evident. All of this led soon to the creation of symphonic forms by Haydn and Mozart and to the ascendance of Beethoven and the romantic composers of the early 19th Century.
The change in musical form and composition was indeed “revolutionary.” As noted in the authoritative Grove narration of the Bach family saga (Wolff, 1983, p. 168), “the rejection, by the musicians of the succeeding generation, of the artistic principles that Bach stood for went beyond the normal changes in style that are found at other periods.” This rejection was led in large part by Bach’s sons. Yet, with all of this “revolution” taking place within the Bach household, there was an honoring of “Papa Bach” musical legacy. His sons (especially Philip Emanuel) led the formation of musical groups ”that preserved and passed on most of the original manuscripts of Bach’s works that have survived.” (Wolff,1983, p. 169)
While some of Bach’s many children wished to distance themselves from the “old man” and even began to throw away some of his scores, Philips Emanuel, as executor of a third of J.S. Bach musical estate, fought hard to preserve what his father had composed (Wolff, 1983, p. 263). This preservation was very important, for the music of J. S. Bach was to go into wide-spread disfavor for many years. While some of the composers that worked during the years after J. S. Bach’s time studied his compositions and were influence by what he had written, there were few performances of his work. Papa Bach soon became known primarily as a great organ player—not as a great composter. It was actually not until the early 19th Century that J. S. Bach’s great musical contributions were recognized – with Feliz Mendelson (himself a great composer) leading the way in championing and performing the music of J. S. Bach.
What was it that Bach’s sons did which preserved the relationship with their father, while still allowing them to revolutionize the world of music. It was all about guardianship and the safeguarding of a tradition (or treasured documents in the case of J.S. Bach).
Guardianship
Many years ago, Erik Erikson (1963) introduced the concept of generativity and specifically suggested that there is a particular time in our life when we focus on caring deeply for that about which we care most. He focused in particular on the generative acts that come with assisting other people who are younger or less experienced in performing a specific task. This engagement of what we now call “mentoring” is usually engaged during the mid-point in our life (ages 40-60). Along with my colleague, Gary Quehl, I have expanded on Erikson’s concept of generativity by identifying four types of generativity. The first type focuses on the rearing of a child (or a special project), while the second type concerns the mentoring of other people (who are younger or less experienced in performing a specific task). The third type concerns the preservation of traditions, while the fourth concerns honoring and celebrating achievements. Each type is engaged at multiple times in our life.
In exhibiting the third type of generativity, some of the sons of J. S. Bach seem to be particularly “generative” in their protection and preservation of their father’s compositions. While they were moving beyond the Baroque style of their father’s work, the sons were engaged in many activities ensuring that most of Papa Bach’s many, magnificent works of art were saved. This third type of generativity was called “guardianship” by George Vaillant (2012).
