“J.S. Bach’s most successful son”,
the classical radio host 
introduced him with confidence,
and I wondered: by what standard
does he merit this distinction
above three musician brothers
whose extant works also bring joy?

They all survived to be adults,
more than can be said for many –
including some of their siblings. 
And what of J. S. Bach’s daughters?
Regina and Elisabeth,
for example, without entries
of their own in Western canon; 

to each only an inscription 
within a vast family tree
that grew during Enlightenment –
its broad limbs full of composers 
performers, millers, and painters
likely doing the best they could
in the Germany of their time. 

Not to begrudge Emanuel’s 
vaunted position, how he swayed
a genre through sheer cleverness –
but to mention posterity 
can be fickle in assigning praise, 
subject to whim whenever
tastes that prevail become altered.