Historical Figures: Martin Luther and Johann Sebastian Bach

Martin Luther

By Hebert Ricardo Pimenta

To create a psychobiographical profile of Martin Luther, I relied on the books Martin Luther, a Destiny, by Lucien Febvre, and The Nine Personality Types and 27 Characters in Search of Being, both by Claudio Naranjo. What I did was cross-reference the passages from Febvre’s book that evoked the characteristics of the Sexual 1 personality with the references to this character in Claudio Naranjo’s books, as well as some of my own considerations, in order to highlight the arguments of the psychology of the types that support the thesis that the monk Luther is a typical representative of the mentioned Sexual 1.

This book, now out of print, is part of Character and Neurosis, by Claudio Naranjo. It was not republished separately from this work at the author's explicit request. (Editor’s note)

Luther according to Febvre

The portrait of Luther drawn by Febvre is based on a solid foundation of historical evidence, including documents and correspondence uncovered in 1904, revealing a Luther who was vigorous both in his dealings with others and with himself. This defiant Luther disregarded the authority of monarchs, popes, scholars, and saints, driven above all by the desire to secure the salvation of his own soul. He was a man with a fervent attachment to rules, principles, methods, and systems, thirsty for an orderly cosmos that he never found and tried to impose by force. We are dealing with an individual marked by introspection,

endowed with an uncommon vitality and enthusiasm. Various fragments in Febvre’s work seem to explicitly reflect the characteristics of the Sexual 1.

Childhood

In general, it is known that Luther grew up in an environment full of conflict and had a stern father who planned to make his son a lawyer to handle the legal affairs related to the family business. The roughness of Luther's language, even in adulthood, originated from this harsh childhood, as shown in the following passage from Febvre’s book.

To begin with, the painful picture of a childhood devoid of love, joy, or beauty. His parents were poor: the father, a miner, harsh with himself and rude with others; the mother, a housewife, exhausted, almost destroyed by excessively hard work, served, at best, to fill the mind of a very impressionable child with prejudices and dreadful superstitions. These joyless creatures raised little Martin in a town, Mansfeld, inhabited by miners and merchants. Under the tutelage of uneducated teachers, the child learned to read, write, some Latin, and to pray. Shouting at home, beatings at school: a harsh regime for a sensitive and nervous being. Luther’s childhood and youth were marked by suffering: his mother instilled in him nonexistent fears, and his father never seemed to appreciate any of his efforts. Out of loyalty to his mother, he accepted pain as a natural part of life. From his father’s shadow, he learned to sacrifice himself in order to be worthy.

Anger

Anger, a passion that sustains and energizes the Sexual 1, is present in its various forms throughout many passages in Febvre’s work. In 27 Characters in Search of Being, Naranjo describes it as “an uncontrollable outburst of rage, which this personality feels in the face of the existential void caused by the loss of the original condition of fullness.” He continues to characterize it as “an attempt to regain existential fullness through contact with suffering and fear of loss. The E1 takes refuge in pain more than in fear, adopting an attitude of superiority that repairs detachment, which they consider a mistake.” Febvre clearly highlights Luther's overwhelming and often uncontrollable impulse, as evidenced on page 277 of the book: “Sometimes he bursts into an explosion of rage.” He also captures Luther's existential void through the phrase “thirst for the absolute,” reflecting his constant and deep search for definitive meaning and purpose.

Here is the full passage: "Now, let us imagine, in front of these works, submissive to these doctrines, the fervent Luther, thirsty for the absolute, restless and tormented, who in everything sought to satisfy his burning desire for devotion, but also to free himself from his

scruples and anguish." The recurring thirst for the absolute is a compensation for the existential void of the Sexual 1. There are several passages in Febvre that refer to this void: "And when, after so much effort, his soul longed for certainties and did not find peace, when the peace he had implored, the liberating peace, did not descend within him, one can imagine the feeling of bitter impotence and true despair that left him prostrate before a mute God, like a prisoner at the foot of an endless wall." In another passage, he says: "What argument could have soothed an anguish like the one Luther experienced?" And also, in an expression that Febvre uses to capture the multiple dimensions of Luther, his impatience, his combative energy, his desire for dominance and correction: "Luther, in his throbbing rush to possess God, bypasses the law to go directly to the Gospel," or "(he has a) radical inability to penetrate the thoughts and feelings of others. [He shows] irritation at any objection."

Vehemence

In 27 Characters in Search of Being, Claudio Naranjo highlights the trait of vehemence in the Sexual 1, describing him as a person whose intense desires make him passionate and vehement. This characteristic resonates in various passages in Febvre’s work. For example, he describes a letter sent by Luther to Pope Leo X as "serious but vehement." Moreover, when discussing baptism in a letter to a friend, Luther shows his firmness without hesitation: "Whoever does not want baptism, let him leave it," thus demonstrating once again the intensity and passion with which he defended his convictions.

Special Intensity

Other traits of the Sexual 1 highlighted by Naranjo are intensity, vitality, passion, zeal, and dedication, well described in 27 Characters in Search of Being: Oscar Ichazo used the Spanish noun "celo" (zeal) to refer to the characteristic passion of the Sexual 1, and this is a word with a double meaning. When referring to an animal in heat (that is, in estrus), the word denotes great sexual excitement; in reference to personality, when talking about doing things with zeal, it means something like care, attention, dedication, or fervor. Thus, it is understood that zeal, in its broadest sense, is analogous to the intensity with which the animal in heat seeks the object of its instinct. The "animal in heat" mentioned by Ichazo finds a parallel in the thoroughbred described by Febvre: "There is in Luther a thoroughbred, a kind of fierce virgin pride of an animal galloping that cannot bear anyone to get in its way or go faster than it." This trait is also mentioned in The Nine Personality Types: "I find it appropriate to consider the dominance of E1 as a relatively independent trait, encompassing descriptions such as an autocratic style, a self-assured and majestic

assertiveness, an aristocratic self-concept, and a superior, arrogant, disdainful, and perhaps condescending and protective behavior."

Perfectionism

When describing perfectionism, Naranjo, in The Nine Personality Types, states: "It can be said that the perfectionist obeys more to the abstract authority of norms or function than to the concrete authority of people." This is also the way, in an analogous manner, that Luther places the Bible above the authority of the Pope. In debates, Luther strongly defended this position, even in situations where such an attitude would have put his life in danger. As Naranjo points out on page 102 of the cited work: "This vehement interest in principles, morals, and ideals is not only an expression of submission to the demands of a strong superego but also, interpersonally, an instrument of manipulation and domination, as these norms are enthusiastically imposed on others and, as previously noted, serve as a disguise for personal desires and demands."

Naranjo reinforces the perfectionist trait of the E1 In relationships, the E1 shows an automatic tendency to impose their own mental and behavioral rigor, demanding from others the same perfectionism (the adjustment) that they demand from themselves; they control and demand discipline so that both behaviorally and emotionally, an order and rigor are respected, which they believe will lead to the elimination of errors."

Luther imposes these moral principles and ideals on the peasants, as Febvre recounts: "Luther condemns the rebelling peasants with passion, vehemence, and cruelty." And the desire for domination is also manifested in the cultivation of the idea of the flock: "Because for Luther, duty was where Melanchthon called him and the Christian flock for which he was responsible." The correspondence between the behavioral descriptions of Luther in Febvre’s work and E1 is sometimes striking. Naranjo, speaking of the self-criticism of E1, characterizes it as: "The perfectionist needs to strive even harder to achieve merit." And Febvre says, describing Luther: "Luther knows and says that he needs to investigate more." As a monk, Luther practices his perfectionism, enjoys dieting, and follows it religiously in a Spartan regimen: "Yes, I was indeed a pious monk. And so strictly faithful to my rule that I can say: if any monk has ever reached heaven through monastic life, I would have done so too. But the game would have lasted a little longer: I would have gotten lost in vigils, prayers, readings, and other tasks." It seems that in the psychic economy, for there to be enough energy for the perfectionist endeavor, there is a counterbalance of self-criticism, of self-loathing in order to gain the necessary drive for a high level of self-demand: "That, by exaggerating to himself the seriousness of his smallest sins, constantly stopping at his own conscience, busy scrutinizing his secret movements, obsessed, moreover, with the idea of

judgment, harbored a feeling of his own unworthiness, which was all the more violent and fearful, that none of the remedies offered to him could, or wanted to, alleviate his suffering."

Resentment

The trait of resentment is explained in The Nine Types of Personality as a specific way of experiencing anger, which commonly arises from the perception of injustice, especially when the individual feels that they are taking on more efforts and responsibilities than others. The specific manifestation of the emotional experience of anger is resentment, which is most commonly felt in relation to a sense of injustice regarding the efforts and responsibilities the individual takes on, more than others.

“However, there is anger in the heart, mostly in the form of resentment.” However, since "we are in the presence of a well-educated and civilized type, not of a spontaneous individual," the direct expression of resentment is not easily found in Luther's speeches. Instead, its presence is inferred from his behavior, which is supported by a passionate vehemence, whether in self-criticism or the defense of moral principles:

"Then a new trial, a new desperate search, amidst anguish and pain. The law was the cross on which he felt nailed."

Luther hated it! He hated it! How he searched around for a way to destroy it.

Indignation

From a character who is angry, neurotically ethical, and has a feeling of loss, we could not expect the absence of indignation. Naranjo highlights these traits in the following passages:

“...and it is a normative and neurotically ethical character, with the specificity of dictating personal norms that it considers absolute.”

Febvre, in several passages, highlights the indignation he recognizes in Luther:

“Thus, Luther, indignant at his stay in Rome, repressing his disgust, developed a vehement passion for the reform of ecclesiastical abuses.”

Naranjo, in the metaphorical attitude of “pushing the river,” underscores the reforming trait that arises from the indignation of EI:

“The attitude of E1 in ‘pushing the river’ demonstrates the inner need to try to modify the context instead of considering the possibility of adapting to it; from this arises their sense of superiority and contempt toward those who are ‘wrong.’”

The Preacher Luther

Luther, a character with a strong spirit of domination and conquest, neurotically ethical, and with the specificity of dictating personal norms that he considered absolute, as Naranjo narrates, almost as a logical consequence of his nature, dedicated himself to preaching and spreading his truth. Febvre emphasizes the preacher Luther:

Between 1517 and 1525, Luther spoke, preached, attacked, and defended.

Luther continued his studies and teaching; in 1510, he became a Bachelor of Theology, according to Pierre Lombard, and preached successfully.

For eight days, he preached with irresistible simplicity, force, and clarity, with remarkable moderation as well, with a superior sense of measure and fairness.

Domination

The Luther described by Febvre radiates a strong conviction of superiority and certainty, characteristics that Naranjo identifies in the Sexual 1. This ennea-type, according to Naranjo, may possess an illusory and exculpatory belief that they deserve more than others, which in turn can justify aggressive behaviors:

“Certain people feel more entitled than their neighbors to the good things in life, to the satisfaction of their desires, or even to exploitative behavior. And in this, there is not only a vehemence of desires but also an illusory and exculpatory conviction that this satisfaction justifies aggressive acts.”

This sense of being more entitled than others to fulfill their desires, and even adopting exploitative behaviors, adds to the E1's tendency to "push the river," revealing an internal need to try to change their context rather than adapt to it. This feeds into their sense of superiority and disdain for those who are "wrong."

His Sense of Superiority

Luther’s sense of superiority stems from self-affirmation as a virtuous and just person, which grants him the right to occupy a position of authority and dominance. These traits are evident in Luther, according to Febvre, who describes the reformer’s firmness in not yielding to any authority: "Luther, for his part, never even considered silencing himself. Neither before the Pope nor before the kings." Luther is also portrayed as an individual driven by an uncontrollable instinct, not restricted by difficulties, opposition, or contradictions, but rather following his own impulse guided by a living, dominant feeling—more prophet than physician or theologian. This peculiar trait of following his impulse beyond the actual objectives or appropriateness of the actions is evident here.

In the realm of relationships, the Sexual 1 demonstrates an automatic tendency to impose mental and behavioral rigidity, expecting others to exhibit the same level of perfectionism demanded of themselves. They control everything and demand discipline to ensure that both behavioral and emotional order and rigor are maintained, which, in their opinion, will lead to the complete eradication of errors. (Naranjo, p. 46; Febvre, p. 214)

Self-Criticism

In The Nine Personality Types, Naranjo highlights the self-criticism of E1, among other points, in the following terms: Although self-loathing may not be visible to the external observer and tends to be concealed through a virtuous and worthy image, the inability to accept oneself and the process of self-contempt are not only sources of chronic emotional frustration (and unconscious anger) but also a psychodynamic foundation always present in the perfectionist need to strive even harder to reach worthiness. Here are some passages indicating the presence of self-criticism in Luther:

• A friend once told him that he was the liberator of Christianity. Luther replied, “Yes, that’s what I am, that’s what I was, but like a blind horse who doesn’t know where his master is taking him." • His adversaries, eager to exploit his too-expressive sincerity. • It must be clear: Luther was not proud of his intelligence. He did not think complacently of the strength, vigor, and immeasurable power of his thought. (Febvre, pp. 11, 217, 135)

Discipline

Febvre makes several references to discipline in Luther. Perhaps more than that, he mentions a "discipline despite..." which signifies obstinacy—a matter of honor beyond the love of duty. Naively, Luther seems to believe that adherence to rules and diligence in

following norms ensures order in the world and salvation. Febvre notes Luther’s strong discipline: "For twenty years, he was a pious monk. He said Mass every day and studied a lot. Luther boasted that he knew entire pages of the famous doctor by heart." (Febvre, p. 61)

Self-Demand

"Luther was very obstinate," "Luther knows and says he needs to investigate more." Thus, Febvre records the E1's obsession with perfection. In the following passage, Luther, disciplined, austere, and rigid with himself, imposes a special intensity on adhering to the rules, even to the point of masochism, considering the risks to his health. Febvre reports:

"Regarding mortifications, fasts, and penance works that were so harsh, Luther, by following the rule, almost lost his health." Luther wanted to draw more from himself, was self-critical, slandered himself, and perhaps intended to let himself be consumed by self-hatred to become a better person. Exaggerating the severity of his smallest sins, constantly fixating on his own conscience, obsessively scrutinizing his secret movements, and also preoccupied with the idea of judgment, he harbored a feeling of his own unworthiness so violent and fearful that none of the remedies offered to him could, or would, relieve his suffering. (Febvre, p. 61)

Self-Centeredness

There is a trait in the behavior of Luther as described by Febvre that is not explicitly found in the Sexual 1 typology but seems very close to the other traits already mentioned, and we believe it is worth highlighting. This trait is being egocentric, satisfied with one’s own description of the world, content with the reasons one finds within oneself for existing and acting in the world, at the expense of what others present. Below, we have compiled some passages from Febvre's book that illustrate this trait:

"I have described as best I could the young Luther, his strength, his enthusiasm, and all that he brought to the world by being himself. Stubbornly himself. Simply himself." "A man of Luther's temperament, when he opens a book, only reads in it one thought—his own. He learns nothing that he does not already have inside him. Because only one thing mattered to him: his intimate, personal experience... He assimilated from it everything that suited his temperament. He vehemently rejected the rest." (Febvre, p. 16, 60, 61)

Radical Inability to Understand the Thoughts and Feelings of Others

Luther's behavior also demonstrates a radical inability to penetrate the thoughts and feelings of others, with irritation toward any objection:

"Luther borrowed. Maybe. But he did not surrender. He remained himself: the man of the cloister, the man of the tower. The man who, in the end, created for himself a certainty of his own measure; the man who forged for himself, for his own needs, this powerful conception of justification by faith, with a tone and an accent so intimate and truly personal, so moving." (Febvre, p. 137)

Egocentrism in Naranjo's Analysis

Naranjo highlights egocentrism in several passages. In 27 Characters in Search of Being, he writes:

"For a sexual person, however, the strength of the impulse is enough for the person—just like the case of the lustful Enneatype—to be more willing to question the authority’s censorship than the strength of their desires."

In another passage, Naranjo states:

"The attitude of E1 to 'push the river' demonstrates the inner need to try to modify the context instead of considering the possibility of adapting to it; hence comes their feeling of superiority and contempt toward those who 'are wrong.'" (Naranjo, p. 46, 20)

Conclusion

Luther clearly embodies the distinctive traits of the Sexual 1. He exhibits palpable vehemence in both his actions and rhetoric, manifesting anger that oscillates between being cautiously suppressed and openly explosive. His level of self-demand is high, extending this rigor both to himself and those around him. He also displays an obsession with order, discipline, and structured methods—all characteristics that reinforce the idea that Luther is undoubtedly a representative of the Sexual 1.

Johann Sebastian Bach

By Paloma Cervera

In Bach's character development, the context in which he was born plays a decisive role, as he belonged to a family of musicians. The Lutheran religious influence, the scientific context of the Enlightenment, and the early need for self-reliance after becoming an orphan at the age of 10 were also significant factors. The early and frequent exposure to death (out of his 7 siblings, only 4 reached adulthood, and out of his 20 children, only 9 survived) confronted him with the transience and pain of human life. This likely marked the profound spiritual sense of his life, his vocation, and his exploration and research of music as a science, in a direct relationship between music, faith, and science. His human persona would be relegated to the background in favor of his work (as evidenced both by his resistance to sharing personal information and the scant personal details available, as well as by his neglect of his own eye health, prioritizing learning). His zeal, demonstrated in his ambition to achieve excellence, would be invested in serving God and souls through his work and his tireless pursuit of knowledge and musical research as a means of accessing deep knowledge and connecting with God and the cosmos: the science of music. Proud of belonging to a family of musicians (he created a genealogy of the family), he felt privileged and chosen for service to God through music. Additionally, he was very aware of the importance of historical continuity. Sensitive to the abuse of power, possibly due to an abusive experience in his youth, he questioned authority when it did not seem just and persisted in defending his rights. Bach’s zeal is also evident in the conflicts he engaged in, particularly his conflict with authority.

Vocation

Bach's indomitable spirit of discovery and research is expressed in different ways: the significant need for learning, shown in his efforts to seek contact with the most important masters of his time, as well as in the effort and method he developed in his self-learning; his exploration of different aspects of music, both in terms of the construction and mechanics of musical instruments, repertoires, styles, genres, the musical principles of composition, harmony, etc.; his practical execution and teaching; and the role of music in the deep understanding of the world and its emotional and spiritual dimensions, aiming to bring the soul closer to God. This subtype is characterized by attention to even the smallest details, revealing an obsessive attitude that can be effective in the field of study but also exhausting for the person.

Important Need for Learning

Bach put great energy and effort into his learning and the development of his work, showing high demands both on himself and on others. The characteristics that define this

effort were discipline, diligence, method, exhaustiveness, and perfectionism, as a way of reaching the highest levels of expression, along with an independent, non-conformist spirit, great curiosity, and courage, which led him to leave familiar territories and seek contact with the most important masters of his time: Reinken, Buxtehude... The way baroque musicians progressed was through hard work and self-learning, copying and studying the models of the best musicians. Bach followed this model, and although he was not an apprentice to any musician (confirming the difficulty of his character in recognizing any authority), he made use of the early positions in Arnstadt, Mühlhausen, and Weimar, which allowed him ample free time for intensive self-study. He used his own reflection, exploring various ways of developing a musical theme under the form of fugue (for example, in Arnstadt, exploring double counterpoint with Albinoni's work), and later in Weimar, transcribing and studying Vivaldi's works. By applying an analytical method, he learned to think in terms of order, organization, coherence, and proportion, which he implemented in musical ideas, surpassing the concepts of harmony. This intense thirst for knowledge, as well as the obsessive compulsion for perfection, is also reflected in the vast development of his library, both theological and musical.

Effort and Method

Beyond the effort involved in his self-learning, there is also effort and method in the development of his work, in his musical exploration, and in his teaching, which was special in each of the various aspects involved, and especially unique in the sophisticated and challenging materials he provided. Although Bach did not develop theoretical treatises on music, he did conduct methodical practical explorations, such as in The Art of Fugue and The Well-Tempered Clavier, as well as in his cantatas, exploring different combinations, modes, styles, and genres. All of this shows his interest in the integration of theoretical and practical aspects. In fact, several of his students did write theoretical treatises on music, and he also owned theoretical musical treatises by various authors such as Niedt, Fux, Heinichen, etc.

One of Bach's most characteristic traits in composition was his pursuit of perfection and the endless process of revising and improving his musical works, even at the threshold of death. His compositional effort is especially evident in the creation of the five cycles of church cantatas (Jahrgänge), a self-generated need, during his early years in Leipzig, despite his tight work schedule, which included, in addition to the seven weekly hours of music classes, private vocal and instrumental lessons, and providing music for the four main churches in Leipzig. Moreover, he had Latin classes, which he assigned to a colleague, and administrative and inspection tasks at the St. Thomas School. When Bach was asked about

the secret of his success, he replied: "What I have acquired through industry and practice, any other being with talent and tolerable natural ability can achieve."

Drive and Systematic Exploration of Limits

Bach showed an interest in the mechanics (engineering) of musical instruments, exploring the construction of new instruments, seeking new sounds and musical combinations (which he tested through his cantatas). He introduced improvements to organs (sometimes surprising the organ builders themselves) and contributed to the development of new pianofortes. He participated in designing and building new oboe registers, previously unavailable: oboe d'amore and oboe da caccia, and introduced the transverse flute in 1714. Additionally, he pursued virtuosity in keyboard performance and investigated new ways of playing, introducing the use of the thumb, and exploring new forms of tuning. He was aware that the practical side of music, beyond understanding the principles of composition, harmony, etc., also involved the arrangement of musicians on stage, as well as the design and technology of instruments to get the most out of them. He studied and explored all repertoires, styles, and genres, both ancient and contemporary. Bach's musical knowledge was intimately linked to his musical experience. Bach's music invites us to discover "polyphony at its greatest strength" and "the most hidden secrets of harmony." Bach wanted his "musical science" to be understood as a means of gaining "a deep wisdom about the world."

Philosophy (understood as wisdom of the world) was important for the musician, who needed to understand the causal interaction between the nature of music and human nature. This philosophy included logic, poetics, philology, mathematics, physics, metaphysics, and theology, and represented the core of the liberal arts curriculum to which Bach's students were exposed. This academic atmosphere surrounding Bach profoundly influenced him, as seen in the change in his music style in the 30s-40s. Bach explored, tested, and taught the principles governing music, not only its physical-technical side but also its emotional and spiritual dimensions, to achieve his ultimate goal (music and theology as two sides of the same coin). Music, which reflects the glory of God (who orders everything through numbers, measure, and weight), serves human nature to renew the spirit, mind, and soul. Possibly due to the influence of music on human emotions, there are anecdotes about Bach showing greater sensitivity in his personal life than what is typically associated with E1, reflected in stories of gifts and care for his wife. Loyalty can also be observed in his maintaining his citizenship in Eisenach until the end, as well as to his colleagues, and gratitude toward his brother and the prince of Anhalt-Köthen. There is also a sense of humor reflected in his musical compositions, such as in The Contest Between Phoebus and Pan, which, when taken to the extreme, turns into sarcasm and a playful, fun

spirit. Bach's conflicts have the underlying theme of struggling for something just, above authority.

He does not fight for personal goals, but he does when he feels injustices against his art, relying on Luther's comment about appropriate anger and the need to fight against injustices toward the profession. Carl Ludwig Hilgenfeldt confirms this distinction: "Peaceful and temperate as long as it only concerned his personality, he was a different person when someone neglected the art, which was sacred to him. In those cases, he expressed his rage in the most powerful ways." His untamed, hardworking, disciplined, and methodical character led him to seek the highest levels of musical expression, although it didn’t make his relationships easier, leading to conflicts with authority. At the age of 20, his proud and contemptuous attitude caused a conflict with the 23-year-old student Geyersbach, whom he called an "inexperienced bassoonist." Following his own rules contributed to his problems with authority in Arnstadt, Weimar, and Leipzig, even leading to his arrest and imprisonment for four weeks in Weimar, and he was labeled "incorrigible" by some members of the council in Leipzig. Moreover, his character led him to lose the collaboration of poetess Christiane Mariane von Ziegler, and he offended his collaborator Schröter in the conflict (which he made his own) between Rector Biedermann and his former student Doles, in which Biedermann called all musicians evil and depraved, without exception. He also had long-standing conflicts with Rector Ernesti (who appointed the prefect of Bach's main choir without his knowledge) and with music critic Scheibe (who called him a "musicant," a term used for itinerant musicians who played for hire, and who didn't have enough performing art to be called virtuosos). When attacked in his profession, he went to the end, not giving in easily and appealing to higher authorities, like the king. Other traits consistent with his sexual type I include being irritable, autocratic, inflexible, obstinate, arrogant, contemptuous, and sarcastic. Bach's musical evolution also reflects the evolution of his character: the way he tuned the organ in Arnstadt allowed him to investigate advanced choral progressions, exploring the tonal range and applying a harmonic language unparalleled, with no precedents either among his predecessors or contemporaries.

Despite the modest resources and limited conditions in which his early cantatas were created, this did not prevent the composer from venturing beyond established musical conventions. Thus, he composed Toccata and Fugue in D minor BWV 565. In Weimar, he composed most of his organ works, compiling the melodies of Lutheran hymn chorals until 1675, which constitutes the classic Orgel-Büchlein, a highly ambitious didactic project he worked on for many years but which remained incomplete when he began other new compositional works, losing interest in the old. Of particular importance to Bach was the challenge of matching his fluid and increasingly complex musical language with the structured prose and poetry of the librettos for the cantatas. The years in Arnstadt, Mühlhausen, and Weimar, with their limited obligations, economic security, and political support, were a gift for a highly motivated musician, providing ideal opportunities for

exploration, experimentation, and training. In Cöthen, he composed the Brandenburg Concertos and the first part of The Well-Tempered Clavier, which is related to the exploration of new tuning and composition forms, as well as the introduction of the use of the thumb. The first years in Leipzig were dedicated to realizing his goal of composing cantatas that covered the entire Lutheran ecclesiastical year (Jährgang), in line with his ambition to provide well-regulated and modern church music that met his own goals. In his final stage, he showed greater serenity, with a decrease in the quantity of compositions (cantatas) and the highly crafted production of works with historical meaning, which he knew were exceptional, such as The Art of Fugue, St. Matthew Passion, Mass in B minor, etc. He also wrote the Goldberg Variations and the Musical Offering, based on an original theme from King Frederick II of Prussia, who challenged him to improvise a fugue on that theme, and to whom he later dedicated it.

In 1747, he joined the Musical Wisdom Society of Mizler. This Society requested a portrait, which was painted by Elias Glotobb Haussmann. Moreover, the Society asked for an obituary for each member, so Mizler started the history of Bach's biographies. It has often been argued that other late works by the composer may have been connected to the musical theory based on the Society. One of these works was The Art of Fugue, which he composed shortly before his death, and whose final fugue Bach never completed, and was published posthumously in 1751. Bach was in evolution throughout his life. His perfectionist spirit, curiosity, and eagerness to learn never abandoned him. His constant commitment and courage (not throwing in the towel) are reflected in his decision to undergo two eye surgeries in an attempt to recover his vision in old age. His personal evolution shows that the arrogance and contempt for those who didn’t reach his level, shown in the first half of his life, softened in his old age, while his compositional commitment and perfectionism remained, manifested in the instructions he gave to change certain contrapuntal, melodic, and rhythmic details of his chorale BWV 668a on the threshold of death. In the notes on the three staves of the final cadence of that chorale, read according to the German nomenclature, the initials "JSB" are found.

In the formation of Bach's character, the context in which he was born plays a significant role. He belonged to a family of musicians, was influenced by Lutheran religious beliefs, and was shaped by the scientific environment of the Enlightenment. Additionally, the early necessity of self-reliance after becoming an orphan at the age of 10 had a lasting impact on him. His early and frequent exposure to death (out of his seven siblings, only four reached adulthood, and out of his twenty children, only nine survived) confronted him with the transient nature and pain of human life. This likely contributed to the deep spiritual sense of his life, his vocation, and his exploration of music as a science, drawing a direct connection between music, faith, and science.

His personal life remained secondary to his work, a trait that is evident in both his resistance to sharing personal information and the scarce details available about his life, as well as in his neglect of his own eye health in favor of continuous learning. His fervor, manifested in his ambition to achieve excellence, was dedicated to serving God and the souls through his music and his tireless pursuit of knowledge and musical research as a means of accessing profound understanding and connection with God and the cosmos: the science of music.

Proud to belong to a family of musicians (he even created a family genealogy), Bach felt privileged and chosen to serve God through music. He was highly aware of the importance of historical continuity. Sensitive to abuse of power, possibly due to an experience of abuse in his youth, he questioned authority when it did not align with what he deemed fair, and persistently defended his rights. Bach’s fervor was also demonstrated in the conflicts he encountered, particularly in his clashes with authority.

Vocation

Bach's indomitable spirit of discovery and research is expressed in various ways: his deep need for learning, evident in his search for contact with the most important masters of his time and in the effort and method he applied to his self-education. He explored different aspects of music, from the construction and mechanics of musical instruments to repertories, styles, genres, principles of composition, harmony, and more. His focus was not only on practical execution and teaching but also on the role of music in gaining deep knowledge of the world, its emotional dimensions, and its spiritual aspects, with the ultimate goal of bringing the soul closer to God.

This subtype is characterized by attention to the smallest details, which reveals an obsessive attitude that can be effective in the field of study but also exhausting for the individual.

The Need for Learning

Bach poured significant energy and effort into his learning and the development of his work, displaying high demands on both himself and others. His characteristics included discipline, effort, method, thoroughness, and perfectionism—all aimed at achieving the highest levels of expression, alongside an independent and non-conformist spirit, a great curiosity, and courage. These qualities led him to leave familiar territories and seek contact with the most important masters of his era, such as Reinken and Buxtehude.

Baroque musicians progressed through hard work and self-learning, copying and studying the models of the best musicians. Bach followed this model, though he was never an apprentice to any musician (which reflects his difficulty in recognizing authority). He took advantage of his initial positions in Arnstadt, Mühlhausen, and Weimar, where he had ample free time to engage in intensive self-study, reflecting on his own ideas and exploring various ways of developing a musical theme, such as through fugue (for example, in Arnstadt, exploring double counterpoint with Albinoni’s work). Later, in Weimar, he transcribed and studied Vivaldi’s works, applying an analytical method that led him to think in terms of order, organization, coherence, and proportion, moving beyond traditional harmony concepts. His insatiable thirst for knowledge, as well as his obsessive compulsion for perfection, is also reflected in the extensive development of his library, both theological and musical.

Effort and Method

In addition to the effort involved in his self-education, Bach applied effort and method to the development of his work, his musical exploration, and his teaching. Each aspect of his teaching was unique, especially in the sophisticated and challenging materials he provided. Although Bach did not develop theoretical treatises on music, he conducted methodical practical explorations, such as in The Art of Fugue and The Well-Tempered Clavier, as well as in his cantatas, experimenting with different combinations, modes, styles, and genres. This demonstrates his interest in integrating theory and practice. In fact, several of his students did write theoretical treatises on music, and he also owned musical theoretical works by authors like Niedt, Fux, and Heinichen in his library.

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One of Bach’s most notable characteristics was his relentless pursuit of perfection, demonstrated by his constant revising and improving of his musical works, even as death approached. This effort was especially evident in the composition of his five cycles of church cantatas (Jahrgänge), totaling 327 pieces, created during his early years in Leipzig despite his demanding schedule, which included not only seven hours of music lessons each week but also private lessons in both vocal and instrumental music, as well as composing for the four main churches in Leipzig. Additionally, he had Latin lessons provided by a colleague and performed administrative tasks at the St. Thomas School. When asked about the secret to his success, Bach said, "What I have gained through industry and practice, any other person with talent and natural ability can achieve." Bach’s drive to explore the boundaries of music is reflected in his interest in the mechanics of musical instruments, such as experimenting with new instruments, seeking new sounds and combinations in his cantatas, and improving organs—sometimes to the surprise of the

organ builders themselves. He contributed to the development of new pianofortes and participated in designing and constructing new oboe registers, like the oboe d'amore and oboe da caccia, as well as introducing the transverse flute in 1714. He also advanced virtuosity on the keyboard by experimenting with new techniques, such as using the thumb and exploring alternative tuning methods.

Bach recognized that the practical aspect of music, beyond composition and harmony, also involved the positioning of musicians on stage and the design and technology of instruments to maximize their potential. His musical knowledge was deeply intertwined with his personal experience in music. Bach’s work invites discovery of “the fullest strength of polyphony” and “the most hidden secrets of harmony.” Bach wanted his "musical science" to be understood as a means of gaining “a profound vision of wisdom about the world.” For Bach, philosophy—comprising logic, poetics, philology, mathematics, physics, metaphysics, and theology—was essential for a musician, as it helped understand the causal interaction between music and human nature. This philosophy formed the core of the liberal arts curriculum Bach’s students were exposed to. The academic environment surrounding Bach profoundly influenced him, reflected in the changes in his music during the 1730s and 40s. Bach explored and taught the principles governing music, not just its physical and technical aspects but also its emotional and spiritual dimensions, with the aim of achieving a final goal: music and theology as two sides of the same coin. Music, reflecting the glory of God (who orders all things through numbers, measurement, and weight), serves humanity to renew its spirit, mind, and soul.

There are anecdotes that show Bach's emotional sensitivity, especially in his relationship with his wife, which reflects traits commonly associated with E1, such as loyalty and gratitude. Bach's sense of humor also appeared in his music, notably in works like The Contest between Phoebus and Pan, where his playful spirit sometimes turned into sarcasm. Bach's conflicts were often rooted in his fight for justice, above all, against authority.