Johann Sebastian Bach and beer?

One might surmise that, at best, Bach was interested in beer as a consumer rather than as a musician who made it a subject of his work. Yet, there are parallels between beer and Bach’s music. His compositions are complex and meticulously crafted; they do not stem from mere sentimentality or inward-looking emotion but are grounded in knowledge and solid, hard-earned expertise. The beauty of Bach’s music lies not merely in its melodies but arises from structure, proportion, physics, numerical relationships, and a masterful command of these elements. Bach virtually constructed his works—such as the Chaconne in D minor for solo violin (BWV 1004), composed in Köthen. The Baroque era had a penchant for numerical relationships and riddles. Such numerical play can also be found in Bach’s use of the number 3—a natural symbol for the Trinity given his religious background—most impressively demonstrated in the Prelude and Fugue in E-flat major (BWV 552). Here, Bach introduces three separate themes—symbolizing God the Father, the Son, and the Holy Spirit—in distinct fugal sections, before skillfully weaving them together. Bach and beer—there are indeed parallels. A beer bearing Bach’s name must embody the very qualities that define his music: knowledge, craftsmanship, and a sense of perfect balance. Guided by this philosophy, Prof. Dr. Jean Titze and Master’s student Johannes Jeske developed a historic Märzen beer at the Anhalt University of Applied Sciences’ research and teaching brewery in Köthen to mark the Bach Festival. The beer reflects this “triad” through its composition: crafted from three raw materials—Köthen water, local barley malt, and Rottenburg Spät hops—it was “composed” according to the Purity Law using a three-mash process, three sparging stages, and three hop additions, all inspired by Bach’s musical style. Prof. Dr. Jean Titze – Anhalt University of Applied Sciences