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By Orrin Keepnews, Bill Grauer

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Extra resources for A Pictorial History of Jazz: People and Places from New Orleans to Modern Jazz

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Bach antwortete mit dem fur ihn typischen Hinweis, er werde sich schriftlich zu den Vorwurfen erklaren. Eine geschickte Strategie, mit der er Zeit gewann, sodag die Sache (auch ohne die angekiindigte Erklarung) schlieglich im Sande verlief. Doch der Rat hatte im November 1706 noch einen zweiten Vorwurf parat: Bach habe eine »frembde Jungfer auf das Chor« geholt und »musiciren lafSen«. Auch dies ist in erster Linie eine musikalische Kritik: Statt mit dem Schiilerchor zu musizieren, hatte Bach eine fremde Person auf die Empore geholt und sie singen lassen.

Diese raumliche Nahe forderte jedenfalls den Familiensinn, und Johann Nikolaus Forkel hat einen anschaulichen Bericht iiber die Treffen der Familie hinterlassen: »Der Versammlungsort der Bache war gewohnlich Erfurt, Eisenach ader Arnstadt. Die Art und Weise, wie sie die Zeit wahrend der Zusammenkunft hinbrachten, war ganz musikalisch. Da die Gesellschaft aus lauter Cantoren, Organisten und Stadtmusikanten bestand, die sammtlich mit der Kirche zu tun hatten, und es iiberhaupt damahls noch eine Gewohnheit war, alle Dinge mit Religion anzufangen, so wurde wenn sie versammelt waren, zuerst ein Choral angestimmt.

A11erdings kommt man ohne ihn auch nicht 34 4. BACH, EIN GENIE? aus. »Wer das Genie verleugnet, laISt die Menschheit verarmen, indem er ihre Typologie zum Primitiven hin reduziert« (Wolfgang Hildesheimer). Und rein empirisch betrachtet halt die Geschichte, aber auch die Gegenwart der Kiinste und Wissenschaften ja in der Tat Beispiele genialer Menschen parat. Der Genie-Begriff gehort allerdings nicht nur in eine empirische Typologie des Menschen, sondern er ist zugleich ein historischer Begriff, der jeweils unterschiedliche Nuancen akzentuiert.

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