Bach and Beer
The news that Lewis Kaplan, co-founder of the Bowdoin International Music Festival, is collaborating with Emily Isaacson, Bruce Fithian, and internationally known soloists to present a major new Bach Festival this June in Portland was welcome in itself (more on the festival and its musical content in a later column). That Isaacson is thinking of concluding the affair with a Bach and Beer party at a venue near the shore reminded me of H.L. Mencken’s story about how Bach’s Mass in B Minor saved him from death by thirst. (“Heathen Days” (1943))
Mencken and his publisher and friend, Alfred Knopf, were attending the famous Bach Festival in Bethlehem, Pennsylvania, during Prohibition, (1920-1933) and discovered to their horror that every speakeasy in town was closed due to the sighting of “agents” some days previously.
He writes: “This seemed strange and unfriendly, for it is well known to every musicologist that the divine music of old Johann Sebastian cannot be digested without the aid of its natural solvent (malt liquor).”
They barely made it through the last concert and on their way to the train discussed how soon they could get a bootlegger to meet them at a station before New York.
Their taxi driver took pity on them and drove to a warehouse-like building with the telltale sign “Sea Food” above the door.
“We rapped on the door and presently it opened about half an inch, revealing an eye and part of a mouth. The ensuing dialog was sotto voce but staccato and appassionata. The eye saw that we were famished but the mouth hesitated.
‘How do I know,’ it asked, ‘that you ain’t two of them agents?’
‘Agents!’ hissed Knopf. ‘What an idea. Can’t you see us? Take a good look at us.’
The eye looked but the mouth made no reply.
‘Can’t you tell musicians when you see them?’ I broke in. ‘Where did you ever see a Prohibition agent who looked so innocent, so moony, so dumb? We are actually fanatics. We came here to hear Bach. Is this the way Bethlehem treats its guests? We came a thousand miles, and now—‘
‘Three thousand miles,’ corrected Knopf.
‘Five thousand,’ I added, making it round numbers.
Suddenly I bethought me that the piano score of the B minor mass had been under my arm all the while. What better introduction? What more persuasive proof of our bona fides? I held up the
score and pointed to the title on the cover. The eye read:
Mass in B Minor
The eye flicked for an instant or two and then the mouth spoke. ‘Come in, gents,’ it said. As the door opened our natural momentum carried us into the bar in one leap, and there we were presently immersed in two immense Humpen….
It was a narrow escape from death in the desert, and we do not forget all these years afterward that we owed it to Johann Sebastian Bach, that highly talented and entirely respectable man, and especially to his Mass in B minor.”
I don’t know if Emily Isaacson has heard that story, but I’m sure Mencken would have approved of her idea and the plethora of micro-breweries now gracing the City by the Sea.
More on the festival soon and the Maine premiere of a newly reconstructed Bach concerto.
Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at firstname.lastname@example.org.