four sons, and possibly slightly influenced Johann Sebastian, his cousin's son, who lived at Eisenach till his tenth year.
Johann Michael Bach [16] (d. 1694), born at Arnstadt in 1648, was similarly trained. In 1673 he became organist at Gehren, remaining till his death. His genius resembled his brother's, especially as regards invention, though he was less gifted in form. His more numerous motets and organ-pieces are not only learned, but rich in ideas and feeling. He was one of the earliest of the family to take up instrument-making. Of his five daughters, the youngest, Maria Barbara (d. 1720), became the first wife of Johann Sebastian in 1707, so that her four surviving children, including three sons, were descended from both the second and the third lines of the great family.
Mention should also be made of the two sons of Christoph [6]: Johann Ambrosius Bach [13] (d. 1695) and Johann Christoph Bach [14] (d. 1693), who were twins (b. 1645) and almost indistinguishable. Ambrosius was a good violinist, in request at Erfurt from 1667 and at Eisenach from 1671. Johann Sebastian was the last of his eight children. Christoph was court-violinist and town-piper at Arnstadt from 1671, living a curiously troubled life. Of his five children, Johann Ernst [27] (d. 1739), though of but average talent, was Johann Sebastian's successor as organist at Arnstadt in 1707.
98. In France, Spain and Portugal.—Although church music was naturally cultivated in every cathedral and principal church in France, yet the trend of musical interest under both Louis XIII. and Louis XIV. was so strong in other directions that few masters of sacred music appeared. The tendency was to go on using old works or simply adopt Italian works as they came out.
Two composers, however, may be mentioned:—
Arthur AuxCousteaux (d. 1656), teacher at St. Quentin and later in the Royal Chapel, was a somewhat prolific writer of masses, motets, psalms and part-songs (from 1631) in the Italian style.
Michel Richard Lalande (d. 1726) won notice as a choirboy at Paris and secured instruction in playing various instruments. Developing special talent for the organ, from about 1675 he served several churches, would have been made royal organist except for his youth, became teacher in the king's household, and from 1683 was one of the royal superintendents of music. He was the strongest French church composer of the time (fine motets, 1695-1712), besides writing many ballets (from 1678).
The same remarks apply to Spain at this period so far as
lack of originality is concerned, though there was no other musical
interest of importance. It should be said, however, that
from the 17th century a special form of motet, the 'vilhancico,'
arose in both Spain and Portugal, in which choral opening and
