Through the way where hope is guiding, Hark, what peaceful music rings…
Johann Sebastian Bach
What Peaceful Music
Topic: Creativity, Culture, & the Arts
Jesu, joy of man’s desiring,
Holy wisdom, love most bright;
Drawn by Thee, our souls aspiring
Soar to uncreated light.Word of God, our flesh that fashioned,
With the fire of life impassioned,
Striving still to truth unknown,
Soaring, dying round Thy throne.Through the way where hope is guiding,
Hark, what peaceful music rings;
Where the flock, in Thee confiding,
Drink of joy from deathless springs.Theirs is beauty’s fairest pleasure;
Theirs is wisdom’s holiest treasure.
Thou dost ever lead Thine own
In the love of joys unknown.
Johann Sebastian Bach, born on March 21, 1685, in Eisenach, Germany, was a central figure in the Baroque period of music. His life's journey, marked by both personal challenges and professional achievements, began in a small town but would eventually have a lasting impact on the world of classical music. Bach's early exposure to music, largely due to his family's musical background, set the stage for his future as an organist and composer. Despite the loss of his parents at a young age, Bach's dedication to music remained unwavering, leading him to positions in Arnstadt, Mühlhausen, and Weimar. These early roles allowed him to refine his craft, particularly in organ playing and choral composition.
Bach's tenure as cantor at St. Thomas Church in Leipzig, a position he held from 1723 until his death on July 28, 1750, at the age of 65, was a period of significant productivity and creativity. During this time, he composed some of his most renowned works, including the "St. Matthew Passion" and the "Mass in B minor." His compositions, characterized by intricate counterpoint and harmonic innovation, were not only musical endeavors but also expressions of his deep religious faith. Bach himself saw music as a means of worship and spiritual reflection, famously remarking, "Where there is devotional music, God with his grace is always present." This perspective was evident in his approach to composition, which sought to combine technical skill with a sense of spiritual purpose.
Bach's contributions to music were not fully recognized until after his death, but today, he is acknowledged as a master of the Baroque style. His influence on the development of music is undeniable, with his works serving as both a foundation for future composers and a source of inspiration for musicians across genres. Bach's belief that "The final aim and reason of all music is nothing other than the glorification of God and the refreshment of the spirit" encapsulates his approach to music-making – one that was grounded in a combination of skill, devotion, and a desire to enrich the human spirit through art.
Bach, Johann Sebastian. Adapted by Bridges, Robert. “Jesus, Joy of Man’s Desiring.” The United Methodist Hymnal, United Methodist Publishing House, 1989, hymn no. 644.
Johann Sebastian Bach
Theme: The Musical Arts
About This Johann Sebastian Bach Quotation [Commentary]
Johann Sebastian Bach’s line, “Through the way where hope is guiding, Hark, what peaceful music rings,” speaks from within a larger vision of sacred longing and trust. In the full context of “Jesu, Joy of Man’s Desiring,” this line is not isolated sentiment but part of a steady unfolding. Souls are “drawn” by holy wisdom and “love most bright,” and they “soar to uncreated light.” Bach’s language does not separate music from inner movement; instead, it presents music as the sound of hope itself—offering direction and peace.
The phrase “hark, what peaceful music rings” suggests listening not just with the ear, but with the heart attuned to divine nearness. Music rings peacefully along the “way where hope is guiding”—not through ease or comfort, but through trust. This way is shared: “where the flock, in Thee confiding, drink of joy from deathless springs.” The music in this passage is not performance; it is expression of spiritual confidence and shared joy, moving quietly but surely toward what the hymn calls “beauty’s fairest pleasure” and “wisdom’s holiest treasure.”
Bach’s vision includes struggle and mystery—“striving still to truth unknown, soaring, dying round Thy throne”—yet never abandons the direction of love. The music rings in that tension, grounded in hope and directed by it. Even the phrase “joys unknown” suggests that what is most sustaining cannot be grasped fully, only followed. In this way, the peaceful music does not distract from life’s complexity but carries it, offering both guidance and assurance on the way.
Additional Commentary About Johann Sebastian Bach’s Music
These verses speak with a steady confidence about what sacred music is for: not self-display, but “holy wisdom” and “love,” the “recreation of the soul,” and a life “drawn” toward God. The language holds together mind and heart—“striving still to truth unknown” while also trusting in “peaceful music” that carries hope when words are not enough. And even where the diction reflects an older English hymn style (“man’s desiring,” “Thou”), the inner movement is spacious and humane: a shared longing, a shared joy, and a shared journey “through the way where hope is guiding.”
Albert Einstein’s Love of Mozart and Bach [Brief Commentary]
Einstein’s initial introduction to music through violin lessons at age six, encouraged by his pianist mother, began as a dutiful chore. Yet, at thirteen, his discovery of Mozart’s violin sonatas ignited a profound love for music. He described Mozart’s music as a “reflection of the inner beauty of the universe,” marking a pivotal moment where music evolved from an obligation to a passion deeply intertwined with his life’s work. His admiration for the clarity and structural beauty in the works of Mozart and Bach paralleled his quest for simplicity and harmony in his scientific theories, illustrating how his musical preferences reflected and influenced his scientific thought process. This connection between music and science in Einstein’s life highlights the depth and diversity of his intellectual and emotional landscape.
“First I improvise and if that doesn’t help, then I seek solace in Mozart; but when I’m improvising and it appears that something may come of it, I require the clear constructions of Bach in order to follow through.”
—Einstein, Albert. Explaining how he relaxes after work playing his violin, “Lina,” in his Berlin kitchen because of the room’s superior; quoted in Ehlers, Liebes Hertz! p.132.
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