Bach, Johann Sebastian
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Johann Sebastian Bach
Johann Sebastian Bach
Portrait of Bach (1746) Basic Information Date of birth March 31, 1685(1685-03-31)
Place of birth Eisenach, Saxe Eisenach
Date of death July 28, 1750 (1750-07-28) (65 years old)
Place of death Leipzig, Saxony
Years of activity 1710-1750
Country Holy Roman Empire Holy Roman Empire
Professions composer, performer, teacher
Instruments organ, harpsichord, violin
Genres baroque music
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Johann Sebastian Bach (German: Johann Sebastian Bach; March 21 [31], 1685, Eisenach, Saxe Eisenach July 28, 1750, Leipzig, Saxony, Holy Roman Empire) was a German composer, representative of the Baroque era, virtuoso organist, music teacher.
During his life, Bach wrote more than 1000 works.
All significant genres of that time are represented in his work, except opera; he summarized the achievements of the musical art of the Baroque period[1].
Bach is a famous master of polyphony, a continuer of ancient traditions, in the works of Bach, polyphony reaches its heyday.
Content
1 Biography 1.1 Childhood 1.2 Arnstadt and Muhlhausen (1703-1708) 1.3 Weimar (1708-1717) 1.4 Keten (1717-1723) 1.5 Leipzig (1723-1750)
2 Bach studies 3 Creativity 3.1 Organ creativity 3.2 Keyboard creativity 3.3 Orchestral and chamber music 3.4 Vocal works
4 Features of the performance of Bach's works 5 The fate of Bach's music 6 Monuments to Bach in Germany 7 Musical fragments 8 Films about J. S. Bach 9 See also 10 Notes 11 Literature 12 References
Biography[edit / edit wiki text]
Childhood[edit / edit wiki text]
Cities where J. S. Bach lived
Johann Sebastian Bach was the youngest, eighth child in the family of musician Johann Ambrosius Bach and Elisabeth Lemmerhirt[2][3].
The Bach family has been known for its musicality since the beginning of the XVI century: many of Johann Sebastian's ancestors and relatives were professional musicians[4].
During this period, the Church, local authorities and the aristocracy supported musicians, especially in Thuringia and Saxony.
Bach's father lived and worked in Eisenach.
At that time, the city had about 6,000 inhabitants.
The work of Johann Ambrosius included the organization of secular concerts and the performance of church music.
When Johann Sebastian was 9 years old, his mother died, and a year later his father died.
The boy was taken in by his older brother, Johann Christoph, who served as an organist in nearby Ohrdruf.
Johann Sebastian entered the gymnasium, his brother taught him to play the organ and the clavier.
Johann Sebastian was very fond of music and did not miss the opportunity to study it or study new works.
While studying in Ohrdruf under the guidance of his brother, Bach got acquainted with the works of contemporary South German composers — Pachelbel, Froberger and others.
It is also possible that he got acquainted with the works of composers from Northern Germany and France.
At the age of 15, Bach moved to Lüneburg, where in 1700-1703 he studied at the St. Petersburg Vocal School.
Michael.
During his studies, he visited Hamburg — the largest city in Germany, as well as Celle (where French music was held in high esteem) and Lubeck, where he had the opportunity to get acquainted with the works of famous musicians of his time.
The first works of Bach for organ and clavier belong to the same years.
In addition to singing in the a cappella choir, Bach probably played the school's three manual organ and the harpsichord.
Here he received his first knowledge of theology, Latin, history, geography and physics, and also, perhaps, began to learn French and Italian.
At school, Bach had the opportunity to communicate with the sons of famous North German aristocrats and famous organists, primarily with Georg Boehm in Lüneburg[5] and Reinken in Hamburg.
With their help, Johann Sebastian may have gained access to the greatest instruments he has ever played.
During this period, Bach expanded his knowledge of the composers of that era, especially about Dietrich Buxtehude, whom he greatly respected.
Arnstadt and Muhlhausen (1703-1708)[edit / edit wiki text]
In January 1703, after completing his studies, he received a position as a court musician from the Weimar Duke Johann Ernst.
It is not known exactly what was part of his duties, but most likely, this position was not related to performing activities.
During the seven months of his service in Weimar, his fame as a performer spread.
Bach was invited to the post of caretaker of the organ in the Church of St. Boniface in Arnstadt, located 180 km from Weimar.
The Bach family had long standing ties with this oldest German city.
In August, Bach took up the post of organist of the church.
He had to work three days a week, and the salary was relatively high.
In addition, the instrument was maintained in good condition and was configured according to a new system that expanded the capabilities of the composer and performer.
During this period, Bach created many organ works.
Family ties and an employer who was passionate about music could not prevent the tension between Johann Sebastian and the authorities that arose a few years later.
Bach was dissatisfied with the level of training of singers in the choir.
In addition, in 1705-1706, Bach voluntarily left for Lubeck for several months, where he got acquainted with the game of Buxtehude, which caused dissatisfaction with the authorities[6].
Forkel, the first biographer of Bach, writes that Johann Sebastian walked 50 km on foot to listen to the outstanding composer[7], but today some researchers question this fact[8].
In addition, the authorities charged Bach with "strange choral accompaniment" that confused the community, and with inability to manage the choir; the latter accusation apparently had grounds for itself[9].
In 1706, Bach decided to change his place of work.
He was offered a more profitable and high position of organist in the Church of St. Nicholas.
Vlasia is located in Muhlhausen, a large city in the north of the country.
The following year, Bach accepted this offer, taking the place of organist Johann Georg Ale[10].
His salary was increased compared to the previous one, and the level of the singers was better.
Four months later, on October 17, 1707, Johann Sebastian married his cousin Maria Barbara from Arnstadt[11].
Subsequently, they had seven children, three of whom died in childhood.
Two of the survivors Wilhelm Friedemann and Karl Philipp Emanuel later became famous composers.
The city and church authorities of Muhlhausen were pleased with the new employee.
They approved without hesitation his plan for the restoration of the church organ, which requires a lot of money[12], and for the publication of the festive cantata "The Lord is my King", BWV 71 (this was the only cantata printed during Bach's lifetime), written for the inauguration of the new consul, he was given a large reward.
Weimar (1708-1717)[edit / edit wiki text]
After working in Muhlhausen for about a year, Bach again changed his place of work[13], this time getting a place as a court organist and concert organizer — a much higher position than his previous position in Weimar.
Probably, the factors that forced him to change his place of work were the high salary and a well chosen composition of professional musicians.
The Bach family settled in a house just a five minute walk from the ducal Palace.
The following year, the first child in the family was born.
At the same time, Maria Barbara's older unmarried sister moved to the Bach family, who helped them run the household until her death in 1729.
Wilhelm Friedemann and Karl Philipp Emanuel were born to Bach in Weimar.
In 1704, Bach met the violinist von Westhoff, who had a great influence on Bach's work.
The works of von Westhoff inspired Bach to create his sonatas and partitas for solo violin[14].
In Weimar, a long period of composing keyboard and orchestral works began, in which Bach's talent reached its peak.
During this period, Bach absorbs musical trends from other countries.
The works of the Italians Vivaldi and Corelli taught Bach to write dramatic introductions, from which Bach learned the art of using dynamic rhythms and decisive harmonic schemes.
Bach studied the works of Italian composers well, creating arrangements of Vivaldi's concertos for organ or harpsichord.
He could have borrowed the idea of writing arrangements from the son of his employer, the hereditary Duke Johann Ernst, a composer and musician.
In 1713, the crown Duke returned from a trip abroad and brought with him a large number of sheet music, which he showed to Johann Sebastian.
In Italian music, the Crown Duke (and, as can be seen from some works, Bach himself) was attracted by the alternation of solos (playing one instrument) and tutti (playing the whole orchestra).
In Weimar, Bach had the opportunity to play and compose organ works, as well as use the services of the Ducal orchestra.
In Weimar, Bach wrote most of his fugues (the largest and most famous collection of Bach's fugues is the "Well Tempered Clavier").
While serving in Weimar, Bach began work on the "Organ Book" - a collection of organ chorale preludes, possibly for the training of Wilhelm Friedemann a.
This collection consists of arrangements of Lutheran chorales.
By the end of his service in Weimar, Bach was already a well known organist and master of the harpsichord.
The episode with Marchand belongs to this time.
In 1717, the famous French musician Louis Marchand came to Dresden.
The Dresden concertmaster Volumier decided to invite Bach and arrange a musical competition between two famous harpsichordists, Bach and Marchand agreed.
However, on the day of the competition, it turned out that Marchand (who, apparently, had previously had the opportunity to listen to Bach's playing) had hurriedly and secretly left the city; the competition did not take place, and Bach had to play alone[7].
Keten (1717-1723)[edit / edit wiki text]
The palace and gardens in Keten, an engraving from the book" Topographia " by Mattheus Merian, 1650
Sonata for Violin in G minor (BWV 1001), Bach manuscript
After a while, Bach again went in search of a more suitable job.
The old owner did not want to let him go, and on November 6, 1717, he even arrested him for constantly asking for his resignation, but on December 2 he released him "with an expression of disfavor"[15].
Leopold, Prince of Anhalt of Keten, hired Bach as a kapellmeister.
The prince, being a musician himself, appreciated Bach's talent, paid him well and gave him great freedom of action.
However, the prince was a Calvinist and did not welcome the use of refined music at divine services, so most of Bach's Keten works were secular[16].
Among other things, in Keten, Bach composed suites for orchestra, six suites for solo cello, English and French suites for Clavier, as well as three sonatas and three partitas for solo violin.
During the same period, the famous Brandenburg Concertos were also written.
On July 7, 1720, while Bach was abroad with the prince, his wife Maria Barbara suddenly died, leaving four young children.
The following year, Bach met Anna Magdalena Wilke, a young highly gifted singer (soprano) who sang at the ducal court.
They were married on December 3, 1721. [17]
Leipzig (1723-1750)[edit / edit wiki text]
In 1723, the performance of his "Passion for John" took place in the church of St.
On June 1, Bach received the position of cantor of the choir of St. Thomas with the simultaneous performance of the duties of a school teacher at the church, replacing Johann Kunau[18].
Bach's duties included teaching singing and conducting weekly concerts in the two main churches of Leipzig, St. St. Thomas and St. Nicholas.
Johann Sebastian's position also provided for teaching Latin, but he was allowed to hire an assistant who did this work for him, so Petzold was engaged in teaching Latin for 50 thalers a year.
Bach received the position of "music director" of all the churches of the city: his duties included the selection of performers, monitoring their training and choosing music for performance.
While working in Leipzig, the composer repeatedly came into conflicts with the city administration[19][20].
The first six years of his life in Leipzig turned out to be very productive: Bach composed up to 5 annual cycles of cantatas (two of them, in all probability, were lost).
Most of these works are written on gospel texts that were read in the Lutheran church every Sunday and on holidays throughout the year; many (such as " Wachet auf!
Ruft uns die Stimme " or "Nun komm, der Heiden Heiland") are based on traditional church chants — Lutheran chorales.
During the performance, Bach apparently sat at the harpsichord or stood in front of the choir on the lower gallery under the organ; on the side gallery to the right of the organ there were wind instruments and timpani, on the left there were strings.
The city council provided only about 8 performers to Bach, and this often caused disputes between the composer and the administration: Bach had to hire up to 20 musicians himself to perform orchestral works.
The organ or harpsichord was usually played by the composer himself; if he led the choir, then this place was occupied by a full time organist or one of Bach's eldest sons.
Bach recruited sopranos and violas from among the students, and tenors and basses not only from the school, but also from all over Leipzig.
In addition to regular concerts paid for by the city authorities, Bach and his choir worked part time performing at weddings and funerals.
Presumably, at least 6 motets were written for this purpose.
Part of his regular work in the church was the performance of motets by composers of the Venetian school, as well as some Germans, for example, Schutz; during the composition of his motets, Bach focused on the works of these composers.
Zimmerman's coffee shop, where Bach often gave concerts
Composing cantatas for most of the 1720s, Bach gathered an extensive repertoire for performance in the main churches of Leipzig.
Over time, he wanted to compose and perform more secular music.
In March 1729, Johann Sebastian became the head of the Collegium Musicum, a secular ensemble that had existed since 1701, when it was founded by an old friend of Bach, Georg Philipp Telemann[21].
At that time, in many large German cities, gifted and active university students created similar ensembles.
Such associations played an increasingly important role in public musical life; they were often headed by well known professional musicians.
For almost the entire year, the Music College held two hour concerts twice a week at Zimmerman's coffee shop, located near the market square.
The owner of the coffee shop provided the musicians with a large hall and purchased several instruments.
Many of Bach's secular works, dating from the 1730s to the 1750s, were composed specifically for performance in Zimmerman's coffee shop.
Such works include, for example, the "Coffee Cantata" and, possibly, clavier pieces from the collections "Clavier Übung", as well as many concertos for cello and harpsichord.
During the same period, Bach wrote the Kyrie and Gloria parts of the famous Mass in B Minor, later adding the remaining parts, the melodies of which are almost entirely borrowed from the composer's best cantatas.
Bach soon obtained an appointment to the post of court composer; apparently, he had long sought this high post, which was a strong argument in his disputes with the city authorities.
Although the entire mass was never performed in its entirety during the composer's lifetime, today many consider it one of the best choral works of all time.
In 1747, Bach visited the court of the Prussian King Frederick II, where the king offered him a musical theme and asked him to compose something on it right there.
Bach was a master of improvisation and immediately performed a three voice fugue.
Later, he composed a whole cycle of variations on this theme and sent it as a gift to the king.
The cycle consisted of ricercars, canons and trios based on the theme dictated by Friedrich.
This cycle was called the "Musical Offering".
The beginning of a six voice fugue from the "Musical Offering", signed by Bach
Another major cycle, The Art of Fugue, was not completed by Bach, despite the fact that it was most likely written long before his death (according to modern research until 1741).
During his lifetime, he was never published.
The cycle consists of 18 complex fugues and canons based on one simple theme.
In this cycle, Bach used all his rich experience in writing polyphonic works.
After Bach's death, The Art of Fugue was published by his sons, along with the chorale prelude BWV 668, which is often mistakenly called Bach's last work — in fact, it exists in at least two versions and is a reworking of an earlier prelude to the same melody, BWV 641[22][23].
Over time, Bach's vision became worse and worse.
Nevertheless, he continued to compose music, dictating it to his son in law Altnikkol.
In 1750, the English ophthalmologist John Taylor arrived in Leipzig, whom many modern researchers consider a charlatan.
Taylor operated on Bach twice, but both operations were unsuccessful[24], Bach remained blind.
On July 18, he suddenly regained his sight for a short time, but in the evening he had a stroke.
Bach died on July 28; the cause of death may have been complications after surgery.
His remaining fortune was estimated at more than 1000 thalers and included 5 harpsichords, 2 lute harpsichords, 3 violins, 3 violas, 2 cellos, viola da gamba, lute and spinet, as well as 52 sacred books[25].
The grave of Johann Sebastian Bach in the Church of St. Thomas, Leipzig, Germany.
August 9, 2011.
During his lifetime, Bach wrote more than 1000 works.
In Leipzig, Bach maintained friendly relations with university professors.
Especially fruitful was the collaboration with the poet Christian Friedrich Henrici, who wrote under the pseudonym Picander.
Johann Sebastian and Anna Magdalena often hosted friends, family members and musicians from all over Germany at their home.
Frequent guests were court musicians from Dresden, Berlin and other cities, including Telemann, the godfather of Karl Philipp Emanuel.
Interestingly, Georg Friedrich Handel, Bach's classmate from Halle, 50 km from Leipzig, never met Bach, although Bach tried to meet him twice in his life — in 1719 and 1729[26].
The fates of these two composers, however, were joined by John Taylor, who operated on both shortly before their death.
The composer was buried near the Church of St. St. John's (German: Johanniskirche), one of the two churches where he served for 27 years.
However, the grave was soon lost, and only in 1894 the remains of Bach were accidentally found during construction work on the expansion of the church, where they were reburied in 1900.
After the destruction of this church during the Second World War, the ashes were transferred on July 28, 1949 to the Church of St. Thomas [27].
In 1950, which was named the year of J. S. Bach, a bronze tombstone was installed over the place of his burial[28].
Bahovedenie[edit / edit wiki text]
The first description of Bach's life and work was a work published in 1802 by Johann Forkel.
Forkel's biography of Bach is based on the obituary and the stories of Bach's sons and friends.
In the middle of the XIX century, the general public's interest in Bach's music increased, composers and researchers began to collect, study and publish all his works.
Robert Franz, an honored propagandist of Bach's works, has published several books about the composer's work.
The next major work on Bach was the book by Philip Spitta, published in 1880.
At the beginning of the XX century, the German organist and researcher Albert Schweitzer published a book.
In this work, in addition to the biography of Bach, the description and analysis of his works, much attention is paid to the description of the era in which he worked, as well as theological issues related to his music.
These books were the most authoritative until the middle of the XX century, when with the help of new technical means and thorough research, new facts about the life and work of Bach were established, sometimes conflicting with traditional ideas[29].
For example, it was found that Bach wrote some cantatas in 1724-1725 (previously it was believed that this happened in the 1740s), unknown works were found, and some previously attributed to Bach were not written by him.
Some facts of his biography were established.
In the second half of the XX century, many works on this topic were written — for example, the books of Christoph Wolf.
There is also a work called the hoax of the XX century, "The Chronicle of the life of Johann Sebastian Bach, compiled by his widow Anna Magdalena Bach", written by the English writer Esther Meynel on behalf of the composer's widow.
Creativity[edit / edit wiki text]
See also: List of works by Johann Sebastian Bach
Bach wrote more than a thousand musical works in almost all genres known at that time.
Bach did not work only in the genre of opera.
Today, each of the famous works is assigned the number BWV (sok. from Bach Werke Verzeichnis catalog of Bach's works).
Bach wrote music for various instruments, both spiritual and secular.
Some of Bach's works are adaptations of works by other composers, and some are reworked versions of their own works.
Organ creativity[edit / edit wiki text]
Organ music in Germany by the time of Bach already had a long tradition, formed thanks to Bach's predecessors Pachelbel, Boehm, Buxtehude and other composers, each of whom influenced him in his own way.
Bach knew many of them personally.
During his lifetime, Bach was best known as a first class organist, teacher and composer of organ music.
He worked both in the traditional "free" genres of that time, such as prelude, fantasy, toccata, passacaglia, and in more strict forms — chorale prelude and fugue.
In his works for organ, Bach skillfully combined the features of different musical styles that he had become familiar with during his life.
The composer was influenced both by the music of Northern German composers (Georg Boehm, whom Bach met in Lüneburg, and Dietrich Buxtehude in Lübeck), and by the music of southern composers: Bach copied the works of many French and Italian composers to understand their musical language; later he even arranged several Vivaldi violin concertos for organ.
During the most fruitful period for organ music (1708-1714), Johann Sebastian not only wrote many pairs of preludes, toccatas and fugues, but also composed an unfinished Organ Book — a collection of 46 short chorale preludes, which demonstrated various techniques and approaches to composing works on chorale themes.
After leaving Weimar, Bach began to write less for the organ; nevertheless, many famous works were written after Weimar (6 trio sonatas, the collection "Clavier Übung" and 18 Leipzig chorales).
Throughout his life, Bach not only composed music for the organ, but also consulted on the construction of instruments, checking and tuning new organs.
Keyboard creativity[edit / edit wiki text]
Bach also wrote many works for the harpsichord, many of which could be performed on the clavichord.
Many of these works are encyclopedic collections that demonstrate various techniques and methods of composing polyphonic works.
Most of Bach's keyboard works published during his lifetime were contained in collections called "Clavier Übung" ("keyboard exercises").
"Well Tempered Clavier" in two volumes, written in 1722 and 1744 — is a collection, each volume of which contains 24 preludes and fugues, one for each key used.
This cycle was very important in connection with the transition to instrument tuning systems that make it equally easy to perform music in any key — first of all, to a modern evenly tempered system.
"Well tempered clavier" laid the foundation for a cycle of parts that sound in all keys.
It is also a unique example of a "cycle within a cycle" — each prelude and fugue are thematically and figuratively linked to each other and form a single cycle that is always performed together.
15 two voice and 15 three voice inventories are small works arranged in order of increasing the number of characters in the key.
They were intended (and are still used today) for learning to play keyboard instruments.
Three collections of suites English suites, French suites and Partitas for clavier.
Each cycle contained 6 suites built according to the standard scheme (allemande, courante, sarabande, zhiga and an optional part between the last two).
In English suites, the allemande is preceded by a prelude, and there is exactly one part between the sarabande and the gigue; in French suites, the number of optional parts increases, and there are no preludes.
In the scores, the standard scheme is expanded: in addition to the exquisite introductory parts, there are additional ones, and not only between the sarabande and the zhiga.
Goldberg Variations (circa 1741) - a melody with 30 variations.
The cycle has a rather complex and unusual structure.
Variations are based more on the tonal plan of the theme than on the melody itself.
Various pieces like "Overture in the French style", BWV 831, "Chromatic Fantasy and Fugue", BWV 903, or "Italian Concert", BWV 971.
Orchestral and chamber music[edit / edit wiki text]
Bach wrote music for both individual instruments and ensembles.
His works for solo instruments — 3 sonatas and 3 partitas for solo violin, BWV 1001-1006, 6 suites for cello, BWV 1007-1012, and a partita for solo flute, BWV 1013 — are considered by many to be among the composer's most profound creations.
In addition, Bach composed several works for solo lute.
He also wrote trio sonatas, sonatas for solo flute and viola da gamba, accompanied only by a general bass, as well as a large number of canons and ricercars, mostly without specifying the instruments for performance.
The most significant examples of such works are the cycles "The Art of Fugue" and "Musical Offering".
Bach wrote many works for the orchestra and solo instruments with it.
One of the most famous is the "Brandenburg Concerts".
They were so named because Bach, having sent them to Margrave Christian Ludwig of Brandenburg Schwedt in 1721, thought to get a job at his court; this attempt was unsuccessful.
These six concertos are written in the concerto grosso genre.
Bach's orchestral masterpieces include two violin concertos (BWV 1041 and 1042), a concerto for 2 violins in D minor BWV 1043, the so called "triple" A minor concerto (for flute, violin, harpsichord, strings and continuous (digital)bass) BWV 1044 and concertos for claviers and chamber orchestra: seven for one clavier (BWV 1052-1058), three for two (BWV 1060-1062), two for three (BWV 1063 and 1064) and one in A minor BWV 1065 for four harpsichords.
Nowadays, these concertos with an orchestra are often performed on the piano, so they can be called Bach piano concertos, but do not forget that there was no piano in Bach's time.
In addition to the concerts, Bach composed 4 orchestral suites (BWV 1066-1069), some individual parts of which are especially widely popular and have popular arrangements in our time, namely: the so — called "Joke" (an unnecessary literal translation of the Scherzo genre) — the last part of the second suite and the second part of the third suite Aria.
Vocal works[edit / edit wiki text]
German postage stamp dedicated to J. S. Bach, 1961, 20 pfennigs (Scott 829)
Cantatas.
For a long period of his life, Bach spent every Sunday in the Church of St. Thomas directed the performance of the cantata, the theme of which was chosen according to the Lutheran church calendar.
Although Bach also performed cantatas by other composers, in Leipzig he composed at least three full annual cycles of cantatas, one for every Sunday of the year and every church holiday.
In addition, he composed a number of cantatas in Weimar and Muhlhausen.
In total, Bach wrote more than 300 cantatas on spiritual subjects, of which only 200 have survived to this day (the last one is in the form of a single fragment).
Bach's cantatas vary greatly in form and instrumentation.
Some of them are written for one voice, some for a choir; some require a large orchestra to perform, and some require only a few only tools.
However, the most commonly used model is as follows: the cantata opens with a solemn choral introduction, then recitatives and arias for soloists or duets alternate, and everything ends with a chorale.
The recitative is usually taken from the same words from the Bible that are read this week according to the Lutheran canons.
The final chorale is often preceded by a chorale prelude in one of the middle movements, and also sometimes enters the introductory part in the form of a cantus firmus.
The most famous of the spiritual Bach cantatas are "Christ lag in Todesbanden" (number 4), "Ein' feste Burg" (No. 80), "Wachet auf, ruft uns die Stimme" (No. 140) and "Herz und Mund und Tat und Leben" (number 147).
In addition, Bach composed a number of secular cantatas, usually confined to any events, such as the wedding.
Among the most famous secular cantatas of Bach are two Wedding Cantatas and secular Coffee and Peasant cantatas.
Passion, or passion.
The Passion according to John (1724) and the Passion according to Matthew (ca. 1727) are works for choir and orchestra on the gospel theme of the sufferings of Christ, intended for performance at Vespers on Good Friday in the churches of St. Nicholas.
St. Thomas and St. Nicholas.
Passion songs are one of the most extensive vocal works by Bach.
It is known that Bach wrote 4 or 5 passion songs, but only these two have fully survived to this day.
Oratorios and magnificats.
The most famous is the Christmas Oratorio (1734), a cycle of 6 cantatas to be performed during the Christmas period of the liturgical year.
The Easter Oratorio (1734-1736)and the magnificat are rather extensive and carefully elaborated cantatas and have a smaller scope than the Christmas Oratorio or passion.
The Magnificat exists in two versions: the original (E flat major, 1723) and the later and well known (D major, 1730).
Masses.
The most famous and significant mass of Bach is the mass in B minor (completed in 1749), which is a full cycle of the ordinary.
This mass, like many other works of the composer, includes revised early compositions.
The mass was never performed in its entirety during Bach's lifetime — for the first time this happened only in the XIX century.
In addition, this music was not performed as intended due to inconsistency with the Lutheran canon (it included only Kyrie and Gloria), as well as due to the duration of the sound (about 2 hours).
In addition to the mass in B minor, 4 short two part masses of Bach (Kyrie and Gloria), as well as separate parts, such as Sanctus and Kyrie, have come down to us.
Bach's other vocal works include several motets, about 180 chorales, songs and arias.
Features of the performance of Bach's works[edit / edit wiki text]
Today, performers of Bach's music are divided into two camps: those who prefer authentic performance (or "historically oriented performance"), that is, using instruments and methods of the Bach era, and those who perform Bach on modern instruments.
In the time of Bach, there were no such large choirs and orchestras as, for example, in the time of Brahms, and even his most ambitious works, such as the mass in B minor and the passion, do not involve performance by large groups.
In addition, in some chamber works of Bach, the instrumentation is not specified at all, so today very different versions of the performance of the same works are known.
In organ works, Bach almost never indicated the registration and change of manuals[30].
Of the stringed keyboard instruments, Bach preferred the clavichord; now, more often, the harpsichord or piano are used to perform his music.
Bach met with Silbermann and discussed with him the design of his new instrument, contributing to the creation of a modern piano.
Bach's music for some instruments was often rearranged for others, for example, Busoni arranged some organ works for piano (chorales and others).
A very important milestone in the practice of piano and musicology is his popular edition of the "Well Tempered Clavier" - perhaps the most widely used version of this work today.
Numerous "lite" and "modernized" versions of Bach's works contributed to the popularization of Bach's music in the XX century.
Among them are the well known melodies performed by Swingle Singers today, and the 1968 recording of "Switched On Bach" by Wendy Carlos, which used a newly invented synthesizer.
Jazz musicians such as Jacques Lousier also processed Bach's music.
Goldberg's treatment of the New Age variations was performed by Joel Spiegelman.
Among Russian contemporary artists, Fyodor Chistyakov tried to pay tribute to Bach in his 1997 solo album "When Bach Wakes Up".
The fate of Bach's music[edit / edit wiki text]
Bach's personal seal
Contrary to popular myth, Bach was not forgotten after his death.
However, this concerned works for the clavier: his compositions were performed and published, used for didactic purposes.
Bach's works for the organ continued to be played in the church, organ harmonizations of chorales were in constant use.
Bach's cantata oratorio compositions were rarely heard (although the notes were carefully preserved in the Church of St. Thomas), as a rule, on the initiative of Karl Philipp Emanuel Bach.
In the last years of Bach's life and after his death, his fame as a composer began to decrease: his style was considered old fashioned compared to the burgeoning classicism.
He was better known and remembered as a performer, teacher and father of the younger Bach, first of all Karl Philipp Emanuel, whose music was more famous.
However, many major composers, such as Mozart and Beethoven, knew and loved the work of Johann Sebastian Bach.
They were brought up on the works of Bach since childhood.
One day when visiting the School of St. Mozart heard one of the motets (BWV 225) and exclaimed: "There is something to learn here!" — after which, having asked for the notes, he studied them for a long time and enthusiastically[31].
Beethoven greatly appreciated Bach's music.
As a child, he played preludes and fugues from the "Well tempered Clavier", and later called Bach "the true father of harmony" and said that "not a Stream, but the Sea is his name" (the word Bach means "stream" in German).
Bach's influence can be noted both at the level of ideas, the choice of genres, and in some polyphonic fragments of Beethoven's works.
In 1800, Karl Friedrich Zelter organized the Berlin Singing Academy (German)Russian. (Singakademie)
, the main purpose of which was precisely the promotion of the Bach singing heritage.
A biography written in 1802 by Johann Nikolaus Forkel spurred the interest of the general public in his music.
More and more people discovered his music for themselves.
For example, Goethe, who got acquainted with his works quite late in his life (in 1814 and 1815 some of his keyboard and choral compositions were performed in the city of Bad Berk), in a letter from 1827 compared the feeling of Bach's music with "eternal harmony in a dialogue with oneself"[32].
But the real revival of Bach's music began with the performance of the Matthew Passion on March 11, 1829 in Berlin, organized by Felix Mendelssohn, a student of Zelter.
The performance gained a powerful public response.
Even the rehearsals conducted by Mendelssohn became an event — they were visited by many music lovers.
The performance was such a success that the concert was repeated on Bach's birthday.
"The Passion for Matthew" was also performed in other cities — in Frankfurt, Dresden, Konigsberg.
Hegel, who attended the concert, later called Bach "a great, true Protestant, a strong and, so to speak, erudite genius, whom we have only recently learned to fully appreciate again"[33].
In the following years, Mendelssohn's work continued to popularize Bach's music and the composer's fame grew.
In 1850, the Bach Society was founded, the purpose of which was to collect, study and distribute Bach's works.
In the next half century, this society carried out significant work on compiling and publishing a corpus of the composer's works.
In Russia at the beginning of the XIX century, as connoisseurs and performers of Bach's music, Maria Shimanovskaya, a student of Field, and Alexander Griboyedov are particularly distinguished.
In the XX century, the awareness of the musical and pedagogical value of his compositions continued.
Interest in Bach's music gave rise to a new movement among performers: the idea of authentic performance was widely spread.
Such performers, for example, use the harpsichord instead of the modern piano and choirs of a smaller size than was customary in the XIX and early XX centuries, wanting to accurately recreate the music of the Bach era.
Some composers expressed their respect for Bach by including the BACH motif (b flat — la — do — c in Latin notation) in the themes of their works.
For example, Liszt wrote a prelude and a fugue on the theme of BACH, and Schumann wrote 6 fugues on the same theme.
Among the works of modern composers on the same topic, one can name "Variations on the theme of BACH" by Roman Ledenev.
It is worth noting that the same theme was often used by Bach himself, for example, in the XIV counterpoint from The Art of Fugue.
Composers often used themes from Bach's works.
For example, in Brahms ' cello sonata in D major, musical quotations from The Art of Fugue are used in the finale.
Many composers have successfully used the genres developed by Bach.
For example, Beethoven's variations on the theme of Diabelli, the prototype of which is the "Goldberg variations".
"Well tempered clavier" was the ancestor of the genre of the cycle of parts written in all keys.
There are many examples of this genre, for example, 24 preludes and fugues by Shostakovich, two cycles of 24 etudes by Chopin, partly Ludus tonalis by Paul Hindemith.
The chorale prelude "Ich ruf' zu Dir, Herr Jesu Christ " (BWV 639) performed by Leonid Roizman is heard in the film Solaris by Andrei Tarkovsky (1972) [34].
Bach's music is among the best creations of mankind recorded on the golden disc of Voyager[35].
According to The New York Times, Johann Sebastian Bach led the top ten greatest composers of all time[36][37].
Monuments to Bach in Germany[edit / edit wiki text]
Monument to J. S. Bach at the Church of St. Thomas in Leipzig.
Monument in Leipzig, erected on April 23, 1843 by Hermann Knaur on the initiative of Felix Mendelssohn according to drawings by Eduard Bendemann, Ernst Ritschel and Julius Huebner.
The bronze statue on the Frauenplan square in Eisenach, designed by Adolf von Donndorf, was installed on September 28, 1884.
At first, she stood in the Market Square near the Church of St. Nicholas.
George;
On April 4, 1938, it was moved to the Frauenplan with a shortened pedestal.
The monument on the Bach Square in Keten, erected on March 21, 1885.
Sculptor Heinrich Polman Bronze statue by Karl Seffner on the south side of the Church of St. St. Thomas in Leipzig May 17, 1908.
Bust of Fritz Behn in the monument "Valhalla" near Regensburg, 1916.
A statue by Paul Birr at the entrance to the Church of St. St. George in Eisenach, established on April 6, 1939.
Monument of the Arch.
Bruno Eiermann in Weimar, first installed in 1950, then removed for two years and reopened in 1995 on Democracy Square.
Relief in Keten(1952).
The sculptor is Robert Propf.
The monument near the Arnstadt market, erected on March 21, 1985.
Author Bernd Goebel Wooden stele by Ed Garison on Johann Sebastian Bach Square in front of the Church of St. Vlasia in Muhlhausen — August 17, 2001.
The monument in Ansbach, designed by Jurgen Goertz, was installed in July 2003.
Music fragments[edit / edit wiki text]
Concerto for Clavier and Orchestra in D minor, BWV 1052 (1) Allegro (inf.)
Cantata BWV 140 (?), part 1, chorus (inf.)
Fugue for organ in G minor, BWV 578 (inf.)
Films about I. S. Bach[edit / edit wiki text]
Bach: The Struggle for Freedom (1995, directed by S. Gillard, artistic) Johann Bach and Anna Magdalena ("Il etait une fois Jean Sebastien Bach") (2003, dir. Jean Louis Guillermou, artistic) Johann Sebastian Bach (series "Famous Composers", documentary) Johann Sebastian Bach (series "German Composers", documentary) Johann Sebastian Bach: life and creativity, in two parts (TV channel "Culture", Yu. Nagibin, documentary) The competition continues (1971, directed by N. Khrobko, TV performance) My name is Bach (2003, dir. Dominique de Rivaz, artistic) The Silence before Bach (2007, dir. Pere Portabella, artistic) Johann Sebastian Bach's Futile Journey to Glory (1980, directed by V. Vikas, artistic) A Possible meeting (1992, directed by V. Dolgachev, S. Satyrenko, TV play based on the play of the same name; starring: O. Efremov, I. Smoktunovsky, S. Lyubshin)
Dinner in Four hands (1999, directed by M. Kozakov, TV feature; in the role of Bach — Evgeny Steblov).
The Chronicle of Anna Magdalena Bach (1968, dir. Daniel Huye, Jean Marie Straub, artistic, G. Leonhardt) Bach Cello Suite #6: Six Gestures (1997, dir. Patricia Rozema, artistic) Friedemann Bach (1941, dir. Traugott Muller, Gustaf Grundgens, artistic) Great Composers (BBC TV series) - The Life and Work of J. S. Bach, documentary (English), in 8 parts: Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8 Johann Sebastian Bach (1985, dir. Lothar Bellag, artistic) (German) Johann Sebastian Bach Der liebe Gott der Musik (series "Die Geschichte Mitteldeutschlands", season 6, episode 3, dir.
Lew Hohmann, documentary) (German)
The Cantor of St. Thomas's (1984, dir. Colin Nears, fiction) (English)
The Joy of Bach (1980, documentary) (English)
See also[edit / edit wiki text]
Baroque the era to which the work of Bach belongs Bach (genus) — the Bach family, who brought up more than 50 musicians and composers over two centuries (XVII—XVIII centuries).
BWV the generally accepted numbering system of Bach's works List of works by Johann Sebastian Bach Bach (crater) — a crater on Mercury.
Passion (Bach) — passion of Bach.
Notes[edit / edit wiki text]
А. A. Schweitzer.
Johann Sebastian Bach.
Chapter 1.
The Origins of Bach's art. С. S. A. Morozov.
Bach. (Biography of J. S. Bach in the ZhZL series)
, Moscow: Molodaya Gvardiya, 1975. (Book on www.lib.ru)
↑ Eisenach 1685-1695, J. S. Bach Archive and Bibliography ↑ Documents of the life and work of J. S. Bach genealogy of the Bach family (web archive) ↑ In Germany, Bach's manuscripts were found confirming his training with Boehm RIA Novosti, 31.08.2006 ↑ Documents of the life and work of J. S. Bach The Protocol of Bach's interrogation (web archive) ↑ 1 2 I. N. Forkel.
About the life, art and works of J. S. Bach.
Chapter II.
↑ M. S. Druskin.
Johann Sebastian Bach.
p.
27. ↑ A. Schweitzer.
Johann Sebastian Bach.
Chapter 7.
Документы Documents of the life and work of J. S. Bach Record in the case, Arnstadt, June 29, 1707 (web archive) Документы Documents of the life and work of J. S. Bach an entry in the church book, Dornheim (web archive) Документы Documents of the life and work of J. S. Bach — Organ Reconstruction Project (web archive) Документы Documents of the life and work of J. S. Bach.
Entry in the case, Muhlhausen, June 26, 1708 (web archive) ↑ Yu.
V. Keldysh.
Music encyclopedia.
Volume 1.
- Moscow: Soviet Encyclopedia, 1973.
- p. 761 — - 1070 p. Документы Documents of the life and work of J. S. Bach.
Entry in the case, Weimar, December 2, 1717 (web archive) ↑ M. S. Druskin.
Johann Sebastian Bach.
p.
51. Документы Documents of the life and work of J. S. Bach an entry in the church book, Keten (web archive) Документы Documents of the life and work of J. S. Bach.
Minutes of the magistrate's meeting and other documents related to the move to Leipzig (web archive) Документы Documents of the life and work of J. S. Bach — A letter from J. S. Bach to Erdman (web archive) ↑ A. Schweitzer.
Johann Sebastian Bach.
Chapter 8.
Документы Documents of the life and work of J. S. Bach.
L. Mizler's report on the Collegium Musicum concerts (web archive) ↑ Peter Williams.
The Organ Music of J. S. Bach, p. 382—386.
↑ Russell Stinson.
J. S. Bach’s Great Eighteen Organ Chorales, p. 34—38.
Документы Documents of the life and work of J. S. Bach Quellmalz about Bach's operations (web archive) Документы Documents of the life and work of J. S. Bach.
Inventory of the Bach inheritance (web archive) ↑ A. Schweitzer.
Johann Sebastian Bach.
Chapter 9.
↑ City of music — Johann Sebastian Bach, Leipzig Tourist Office ↑ Leipzig Church of St. Thomas (Tomaskirche) ↑ M. S. Druskin.
Johann Sebastian Bach.
p.
8. ↑ A. Schweitzer.
I. S. Bach.
Ch.
14. ↑ Documents of the life and work of J. S. Bach Rochlitz about this event, November 21, 1798 (web archive) ↑ Pressemitteilungen (German) ↑ Matthaus Passion BWV 244 conducted by Christoph Spering (English) ↑ "Solaris", dir.
Andrey Tarkovsky.
"Mosfilm", 1972 ↑ "Voyager", "Music from Earth" (eng.) ог The top ten greatest composers of all time was headed by Bach ↑ Johann Sebastian Bach — the greatest composer according to the New York Times
Literature[edit / edit wiki text]
Bach, Johann Sebastian // Brockhaus and Efron's Encyclopedic Dictionary: in 86 vols.
(82 volumes and 4 supplements).
- St. Petersburg, 1890-1907.
Documents of the life and work of Johann Sebastian Bach (Collection, translated from German, compiled by Hans Joachim Schulze).
Moscow: Music, 1980. (Book on www.geocities.com (web archive))
I. N. Forkel.
About the life, art and works of Johann Sebastian Bach.
Moscow: Muzyka, 1987.
F. Wolfrum.
Johann Sebastian Bach.
M.: 1912.
A. Schweitzer.
Johann Sebastian Bach.
M.: Music, 1965, M.: Classics XXI, 2002, 2011.
M. S. Druskin.
Johann Sebastian Bach.
M.: Music, 1982.
M. S. Druskin.
Passion Songs and Masses by Johann Sebastian Bach.
Moscow: Muzyka, 1976.
A. Milka, G. Shabalina.
An entertaining bahiana.
Issues 1, 2.
St. Petersburg: Composer, 2001.
S. A. Morozov.
Bach. (Biography of J. S. Bach in the ZhZL series)
, Moscow: Molodaya Gvardiya, 1975.
M. A. Saponov.
Masterpieces of Bach in Russian.
Moscow: Classics XXI, 2005.
ISBN 5-89817-091 X Ph. Spitta.
Johann Sebastian Bach (two volumes).
Leipzig: 1880. (German)
K. Wolff.
Johann Sebastian Bach: the learned musician (New York: Norton, 2000) ISBN 0-393-04825 X (hbk.);
(New York: Norton, 2001) ISBN 0-393-32256-4 (pbk.)  (ZhZL series. Small series)
M.: Young Guard.
2015.
Links[edit / edit wiki text]
Johann Sebastian Bach in Wikicitatnik?
Johann Sebastian Bach on Wikimedia Commons?
Bach, Johann Sebastian in the Open Directory Project (dmoz) reference catalog. (English)
Cantors of the Choir of St. Thomas
...
/ Tidericus (circa 1295) | ...
| Johann Stefan de Orba (1436-1443 | / Thomas Ranstete (1443-1444) | Peter Seehausen (circa 1460) | Martin Klotch (circa 1470) | Johann Fabri de Forchheim (circa 1472) | Ludwig Goetze (from 1480) | Gregor Wessnig (1482-1488) | Heinrich Hoefler (1488-1490) | Nikolaus Seeler (circa 1494) | Johann Conradi (circa 1508) | Johann Scharnagel (circa 1513) | Georg Rau (1518-1520) | Johann Galliculus (1520-1525) | Valerian Huffeler (1526-1530) | Johann Hermann (1531-1536) / Wolfgang Junger (1536-1539) | Johann Bruckner (1539-1540) | Ulrich Lange (1540-1549) | Wolfgang Figulus (1549-1551) | Melchior Heger (1553-1564) | Valentin Otto (1564-1594) | Zet Calvisius (1594-1615) | Johann Hermann Schein (1615-1630) | Michael Tobias (1631-1657) | Sebastian Knupfer (1657-1676) | Johann Schelle (1677-1701) | Johann Kunau (1701-1722) | Johann Sebastian Bach (1723-1750) | Johann Gottlob Harrer (1750-1755)
| Johann Friedrich Doles (1756-1789) | Johann Adam Hiller (1789-1801) | August Eberhard Muller (1801-1810) | Johann Gottfried Schnicht (1810-1823) | Christian Theodor Weinlig (1823-1842) | Moritz Hauptmann (1842-1868) | Ernst Friedrich Richter (1868-1879) | Wilhelm Rust (1880-1892) | Gustav Schreck (1893-1918) | Karl Straube (1918-1939) | Gunther Ramin (1939-1956) | Kurt Thomas (1957-1960) | Erhard Mauersberger (1961-1972) | Hans Joachim Roch (1972-1991) | Georg Christoph Biller (since 1992 as of today)
Photo, video and audio
Wikimedia Commons · Musopen
Thematic Sites Notable Names Database · Allmusic · Discogs · Internet Broadway Database · Internet Movie Database · International Music Score Library Project · MusicBrainz · Project "Gutenberg" · Open Directory Project (English) · Find a Grave
Dictionaries and encyclopedias of the Small Brockhaus and Efron · Allgemeine Deutsche Biographie · Britannica (online)
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Ave Maria Prayer to Ave Maria • Greeting of the Angel (Annunciation Lk. 1: 28) and Elizabeth (Visit to Mary — Lk. 1:42) Music of Ave Maria by Schubert * Ave Maria by Vavilov • Ave Maria by Bach Gounod • Ave Maria by Saint Saens • Ave Maria by Palestrina • Ave Maria by Verdi • Ave Maria by Liszt • Ave Maria by Brahms • Ave Maria by Smarella • Ave Maria by Morricone • Ave Maria by Shpilevsky • ...
Graphics "Ave Maria (Ia Orana Maria)" Gauguin • "Hail Mary (Arseny)" Arseny Prayers Three " Ave Maria • * Angel of the Lord • Rosary of the Person of the Virgin Mary • Archangel Gabriel • The Righteous Elizabeth • Luke • Urban IV • Jesus Christ
Classical music
Source — "https://ru.wikipedia.org/w/index.php?title=Бах,_Iogann Sebastian&oldid=78040081"
Categories: Born on March 31, Born in 1685, Alphabetical personalities Born in Eisenach Died on July 28, Died in 1750, Died in Leipzig Musicians alphabetically Composers alphabetically Composers of Germany Composers of the Baroque era Composers of the XVIII century Teachers alphabetically Music teachers of Germany Music teachers of the XVIII century Audio articles (introduction) Johann Sebastian Bach German Organists Who died of a stroke Blind Musicians The history of the XVIII Century Bach Personalities:Lutheranism Anglican Saints Buried in the Church of St. Thomas in Leipzig Organists alphabetically
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