Hamburg and Venice. In some way cleared, he became ducal choirmaster at Wolfenbüttel in 1667. His published works (from 1645) were mostly dances, with some motets (more in MS.), and were valued at the time for their originality.
Johann Rudolph Ahle (d. 1673), trained at Göttingen and Erfurt, was from 1646 cantor at Erfurt and from 1654 at Mühlhausen. Besides text-books, he wrote choir music of moderate value (from 1647), with about 120 religious songs or arias, paralleling Albert's secular songs. His son, Johann Georg Ahle (d. 1706), succeeded him at Mühlhausen, and was in turn followed by J. S. Bach. His many works (from 1671) were like his father's, but advanced to the aria as distinct from the song. He was named poet-laureate by the Emperor in 1680.
Samuel Bockshorn (d. 1665), after teaching at Pressburg and Nuremberg, was from 1657 court-choirmaster at Stuttgart, where his strictness involved him in some difficulties. Besides both Latin and German church music (from 1655) and a kind of Passion (1660), he also wrote part-songs and dances.
Christoph Bernhard (d. 1692), helped by generous friends to his education under Schütz and in Italy, was second choirmaster at Dresden from 1655, became in 1664 cantor at Hamburg, and returned to Dresden in 1674 as Schütz' successor. Though an able contrapuntist, he left but few works (1665-7 and in MS.).
Wolfgang Karl Briegel (d. 1712), from 1650 cantor at Gotha and from 1671 choirmaster at Darmstadt, was very prolific (at least 25 large books, 1652-1709), chiefly in religious works, using all forms with a strong leaning to concert styles. His instrumental accompaniments were also good.
Johann Theile (d. 1724), probably a pupil of Schütz, had a restless career at Stettin, Lübeck, Gottorp, Hamburg, Wolfenbüttel, Merseburg and Naumburg. His works included, besides singspiele at Hamburg, a Passion (1673), a Christmas oratorio (1681), over 20 masses, other sacred works, and a set of instrumental pieces, all showing immense skill in counterpoint. He had many able pupils and issued text-books.
97. The Bach Family.—Throughout the 17th century the Bachs of Thuringia steadily became more notable as musicians. Although always of humble station and often sufferers from the ravages of war, they thriftily made their way, lived earnest and upright lives, and so generally cultivated music that in some places town-musicians were actually called "the Bachs."
As they multiplied and won place as singers, players, town-musicians,
organists and cantors, their intense family feeling united them in a sort
of Bach guild. Their chief headquarters were Eisenach, Arnstadt or
Erfurt (besides a collateral branch at Meiningen), and they finally
established the custom of an annual family reunion at one of these
largely devoted to music.
Most of them emphasized sacred composition—for choir or
organ—but almost all worked freely in secular forms as well,
