of music, and on his
frequent journeys to various towns in order to gratify his taste he
insisted on having Bach as his travelling companion. Thus, for several
years Bach continued to lead a life which in every respect brought him
much happiness, and added not a little to his fame. Then a great
sorrow befell him, for during one of these expeditions with the
Prince, when, owing to their movements, he was unable to receive news
from home, his wife died suddenly, and when he returned to Coethen it
was to find the family plunged into grief, and the mother already
buried.

The close of the year 1721 saw Bach married to his second wife, Anna
Magdalena Wuelkens, a daughter of the Court trumpeter at Weissenfels.
Anna Magdalena was in every way suited for the wife of a musician, for
she had a deep love for music, in addition to possessing a beautiful
voice. Moreover, as time went on, her reverence for her husband's
genius, which she used every effort to promote and encourage, did not
fail to make itself felt in influencing the musical tastes of her
children.

Life, meanwhile, at the Court had not proceeded so happily for Bach as
heretofore, and in the year of his marriage he made a journey to
Hamburg with the object of competing for the post of organist at the
Jacobi-Kirche. His playing on this occasion excited the greatest
admiration, though, as a matter of fact, this was not the first time
he had awakened the enthusiasm of Hamburg audiences by his
performances; but the organ on which he now played was an
exceptionally fine one, and responded so perfectly to his touch as to
assist in imparting to his improvisation the character of an inspired
performance. When the trial came to an end, every one present felt
certain of the result. Not one of the competitors had approached Bach
in feeling or execution. Yet, notwithstanding the popular verdict in
his favour, the prize was snatched from him and given to
another--younger, unknown, and even insignificant man, who, however,
was enabled to offer four thousand marks for the position, whilst Bach
could only present his genius.

Nevertheless, Bach, with his characteristic indifference to fortune,
made no protest against this unfair treatment, but went quietly on
with his work at Coethen, waiting for a fresh opportunity to present
itself. He had now become personally known to the famous and aged
organist of Hamburg, Reinken. At one of his visits he improvised on a
theme composed by