From Weimar he paid a visit to Arnstadt, only a few miles off, the former meeting-place of his family. Here he had an opportunity of trying the organ lately erected in the “New Church,” the organist of which was Börner, a man of no great attainments. The Consistory heard him, and, at once dismissing Börner, offered Bach the post: a high-handed proceeding, which they softened by making Börner “organist at Matins” and deputy to the Franciscan Church, on his full salary. Bach’s salary was raised by outside contributions, and the youth of eighteen found himself more highly paid than any of his fellow officials.
On August 14th, 1703, he was solemnly installed, and exhorted to industry and fidelity in his calling, and to act as an honourable servant and organist before God, the authorities, and his superiors. His official duties were to play on Sunday and Thursday mornings, and at one service on Mondays; so that he had ample leisure for study.
[Illustration: The Keyboards of Bach’s Arnstadt Organ now in the Rathhaus]
The organ, which was a very fine one of two manuals, had the following stops:
1. Principal (open diapason), 8 ft. 2. Viola da gamba, 8. 3. Quintatön, 8. 4. Gedackt, 8. 5. Quint, 6. 6. Octava (principal), 4. 7. Mixture, 4 ranks. 8. Gemshorn, 8 ft. 9. Cymbal, 3. 10. Trumpet, 8. 11. Tremulant. 12. Glockenaccord.
1. Principal (open diapason), 4 ft.[14] 2. Still gedact, 8. 3. Spitzflöte, 4. 4. Quint, 3. 5. Sesquialtera. 6. Nacht-horn, 4 ft. 7. Mixture, 4 ranks. 8. Octava, 2 ft. 9. Glockenaccord.
1. Principal, 8 ft. 2. Sub-bass, 16. 3. Posaune, 16. 4. Violon bass, 16. 5. Octava, 2. Couplers for manuals and pedals.[15]
The keyboards, of which we give a photograph, are preserved in the Rathhaus. The instrument was built by Wender of Mühlhausen in 1703.
Bach had also the direction of a small school choir, which was augmented by “adjuvanten” or amateur singers, and he had to accompany and attend the rehearsals of the church choir, besides which he probably played the violin in the Count’s band. There was also a theatre belonging to the Count, in which “Singspielen” or operettas were occasionally performed.
The cantata for the first day of Easter, “Denn du wirst meine Seele nicht in der Hölle lassen,” which was afterwards remodelled for use at Leipsic, was composed at Arnstadt, probably for Easter 1704.[16] It was his first cantata, and is in character similar to those in vogue in Northern Germany.