Portrait of Bach, aged 61, Haussmann,1748

Johann Sebastian BachFrom Wikipedia, the free encyclopedia

Johann Sebastian Bach[1] (31 March [O.S. 21 March] 1685 28 July 1750) was a German composer and musician of theBaroque period. He enriched established German styles throughhis skill in counterpoint, harmonic and motivic organisation, andthe adaptation of rhythms, forms, and textures from abroad,particularly from Italy and France. Bach's compositions includethe Brandenburg Concertos, the Goldberg Variations, the Massin B minor, two Passions, and over 300 sacred cantatas of which190 survive.[2] His music is revered for its technical command,artistic beauty, and intellectual depth.

Bach was born in Eisenach, Saxe-Eisenach, into a great musicalfamily. His father, Johann Ambrosius Bach, was the director ofthe town musicians, and all of his uncles were professionalmusicians. His father probably taught him to play the violin andharpsichord, and his brother, Johann Christoph Bach, taught himthe clavichord and exposed him to much contemporary music.[3]Apparently at his own initiative, Bach attended St. Michael'sSchool in Lneburg for two years. After graduating he heldseveral musical posts across Germany: he served asKapellmeister (director of music) to Leopold, Prince of Anhalt-Kthen, Cantor of the Thomasschule in Leipzig, and RoyalCourt Composer to Augustus III.[4][5] Bach's health and visiondeclined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by acombination of stroke and pneumonia.[6][7][8]

Bach's abilities as an organist were respected throughout Europe during his lifetime, although he was notwidely recognised as a great composer until a revival of interest and performances of his music in the firsthalf of the 19th century. He is now generally regarded as one of the greatest composers of all time.[9]

Contents

1 Life1.1 Childhood (16851703)1.2 Weimar, Arnstadt, and Mhlhausen (170308)1.3 Return to Weimar (170817)1.4 Kthen (171723)1.5 Leipzig (172350)1.6 Death (1750)

2 Legacy2.1 Will and testament

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Johann Ambrosius Bach,Bach's father

2.2 Legacy in the 18th and 19th century3 Works

3.1 Organ works3.2 Other keyboard works3.3 Orchestral and chamber music3.4 Vocal and choral works

3.4.1 Cantatas3.4.2 Motets3.4.3 Passions, oratorios, Magnificat3.4.4 Mass in B minor

4 Musical style4.1 Performances

5 See also6 References7 Bibliography8 Further reading9 External links

Life

Childhood (16851703)

Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 21 March1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach,the director of the town musicians, and Maria Elisabeth Lmmerhirt.[10] Hewas the eighth child of Johann Ambrosius, (the eldest son in the family was14 at the time of Bach's birth)[11] who probably taught him violin and thebasics of music theory.[12] His uncles were all professional musicians, whoseposts included church organists, court chamber musicians, and composers.One uncle, Johann Christoph Bach (164593), introduced him to the organ,and an older second cousin, Johann Ludwig Bach (16771731), was a well-known composer and violinist. Bach drafted a genealogy around 1735, titled"Origin of the musical Bach family".[13]

Bach's mother died in 1694, and his father died eight months later.[5] Bach,aged 10, moved in with his oldest brother, Johann Christoph Bach (16711721), the organist at St. Michael's Church in Ohrdruf, Saxe-Gotha-Altenburg.[14] There he studied, performed, and copied music, including hisown brother's, despite being forbidden to do so because scores were so valuable and private and blank ledgerpaper of that type was costly.[15][16] He received valuable teaching from his brother, who instructed him onthe clavichord. J.C. Bach exposed him to the works of great composers of the day, including South Germancomposers such as Johann Pachelbel (under whom Johann Christoph had studied) and Johann Jakob

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St. George's Church in Eisenach,where Bach was baptised. Portalinscription: "Ein feste Burg ist unserGott".

St. Boniface's Church, Arnstadt

Froberger; North German composers;[3] Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais; and the Italianclavierist Girolamo Frescobaldi. Also during this time, he was taughttheology, Latin, Greek, French, and Italian at the localgymnasium.[17]

At the age of 14, Bach, along with his older school friend GeorgErdmann, was awarded a choral scholarship to study at theprestigious St. Michael's School in Lneburg in the Principality ofLneburg.[18] Although it is not known for certain, the trip was likelytaken mostly on foot.[17] His two years there were critical in exposing him to a wider facet of Europeanculture. In addition to singing in the choir he played the School's three-manual organ and harpsichords.[17]He came into contact with sons of noblemen from northern Germany sent to the highly selective school toprepare for careers in other disciplines.

While in Lneburg, Bach had access to St. John's Church and possibly used the church's famous organ, builtin 1549 by Jasper Johannsen, since it was played by his organ teacher Georg Bhm.[19] Given his musicaltalent, Bach had significant contact with Bhm while a student in Lneburg, and also took trips to nearbyHamburg where he observed "the great North German organist Johann Adam Reincken".[19][20] Staufferreports the discovery in 2005 of the organ tablatures that Bach wrote out when still in his teens of works byReincken and Dieterich Buxtehude, showing "a disciplined, methodical, well-trained teenager deeplycommitted to learning his craft".[19]

Weimar, Arnstadt, and Mhlhausen (170308)

In January 1703, shortly after graduating from St. Michael's andbeing turned down for the post of organist at Sangerhausen,[21] Bachwas appointed court musician in the chapel of Duke Johann Ernst IIIin Weimar.[22] His role there is unclear, but likely included menial,non-musical duties. During his seven-month tenure at Weimar, hisreputation as a keyboardist spread so much that he was invited toinspect the new organ, and give the inaugural recital, at St. Boniface'sChurch in Arnstadt, located about 30 kilometres (19 mi) southwest ofWeimar.[23] In August 1703, he became the organist at St. Boniface's,with light duties, a relatively generous salary, and a fine new organtuned in the modern tempered system that allowed a wide range ofkeys to be used.

Despite strong family connections and a musically enthusiasticemployer, tension built up between Bach and the authorities afterseveral years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employerwas upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 170506, to visitthe great organist and composer Dieterich Buxtehude and his Abendmusiken at St. Mary's Church in thenorthern city of Lbeck. The visit to Buxtehude involved a 400-kilometre (250 mi) journey on foot eachway. The trip reinforced Buxtehude's style as a foundation for Bach's earlier works.[24]

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St. Mary's Church, Lbeck

Portrait of the young Bach(disputed)[25]

In 1706, Bach was offered a post as organist at St. Blasius's Churchin Mhlhausen, which he took up the following year. It includedsignificantly higher remuneration, improved conditions, and a betterchoir. Four months after arriving at Mhlhausen, Bach married MariaBarbara Bach, his second cousin. They had seven children, four ofwhom survived to adulthood, including Wilhelm Friedemann Bachand Carl Philipp Emanuel Bach who both became importantcomposers as well. Bach was able to convince the church and towngovernment at Mhlhausen to fund an expensive renovation of theorgan at St. Blasius's Church. Bach, in turn, wrote an elaborate,festive cantataGott ist mein Knig (BWV 71)for theinauguration of the new council in 1708. The council paid

handsomely for its publication, and it was a major success.[17]

Return to Weimar (170817)

In 1708, Bach left Mhlhausen, returning to Weimar this time as organist andfrom 1714 Konzertmeister (director of music) at the ducal court, where hehad an opportunity to work with a large, well-funded contingent ofprofessional musicians.[17] Bach moved with his family into an apartmentvery close to the ducal palace. In the following year, their first child was bornand Maria Barbara's elder, unmarried sister joined them. She remained tohelp run the household until her death in 1729.

Bach's time in Weimar was the start of a sustained period of composingkeyboard and orchestral works. He attained the proficiency and confidence toextend the prevailing structures and to include influences from abroad. Helearned to write dramatic openings and employ the dynamic motor rhythmsand harmonic schemes found in the music of Italians such as Vivaldi, Corelli,and Torelli. Bach absorbed these stylistic aspects in part by transcribingVivaldi's string and wind concertos for harpsichord and organ; many of thesetranscribed works are still regularly performed. Bach was particularlyattracted to the Italian style in which one or more solo instruments alternatesection-by-section with the full orchestra throughout a movement.[26]

In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke'sensemble.[17] He also began to write the preludes and fugues which were later assembled into hismonumental work The Well-Tempered Clavier (Das Wohltemperierte Clavier"Clavier" meaningclavichord or harpsichord),[27] consisting of two books, compiled in 1722 and 1744,[28] each containing aprelude and fugue in every major and minor key.

Also in Weimar Bach started work on the Little Organ Book, containing traditional Lutheran chorales (hymntunes) set in complex textures. In 1713, Bach was offered a post in Halle when he advised the authoritiesduring a renovation by Christoph Cuntzius of the main organ in the west gallery of the Market Church ofOur Dear Lady. Johann Kuhnau and Bach played again when it was inaugurated in 1716.[29][30]

In the spring of 1714, Bach was promoted to Konzertmeister, an honour that entailed performing a churchcantata monthly in the castle church.[31] The first three cantatas Bach composed in Weimar wereHimmelsknig, sei willkommen, BWV 182, for Palm Sunday, which coincided with the Annunciation that

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The autograph of Bach'sViolin Sonata No. 1 in Gminor (BWV 1001)

year, Weinen, Klagen, Sorgen, Zagen, BWV 12, for Jubilate Sunday, and Erschallet, ihr Lieder, erklinget, ihrSaiten! BWV 172 for Pentecost.[32] Bach's first Christmas cantata Christen, tzet diesen Tag, BWV 63 waspremiered in 1714 or 1715.[33][34]

In 1717, Bach eventually fell out of favour in Weimar and was, according to a translation of the courtsecretary's report, jailed for almost a month before being unfavourably dismissed: "On November 6, [1717],the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for toostubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice ofhis unfavourable discharge."[35]

Kthen (171723)

Leopold, Prince of Anhalt-Kthen hired Bach to serve as his Kapellmeister(director of music) in 1717. Prince Leopold, himself a musician, appreciatedBach's talents, paid him well, and gave him considerable latitude incomposing and performing. The prince was Calvinist and did not useelaborate music in his worship; accordingly, most of Bach's work from thisperiod was secular,[36] including the orchestral suites, the cello suites, thesonatas and partitas for solo violin, and the Brandenburg Concertos.[37] Bachalso composed secular cantatas for the court such as Die Zeit, die Tag undJahre macht, BWV 134a. A significant influence upon Bach's musicaldevelopment during his years with the Prince is recorded by Stauffer asBach's "complete embrace of dance music, perhaps the most importantinfluence on his mature style other than his adoption of Vivaldi's music inWeimar".[19]

Despite being born in the same year and only about 130 kilometres (81 mi)apart, Bach and Handel never met. In 1719, Bach made the 35-kilometre(22 mi) journey from Kthen to Halle with the intention of meeting Handel,however Handel had left the town.[38] In 1730, Bach's son WilhelmFriedemann travelled to Halle to invite Handel to visit the Bach family in Leipzig, but the visit did not cometo pass.[39]

On 7 July 1720, while Bach was on travel to Carlsbad with Prince Leopold, Bach's first wife suddenlydied.[40] The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano 17 years hisjunior, who performed at the court in Kthen; they married on 3 December 1721.[41] Together they had 13more children, six of whom survived into adulthood: Gottfried Heinrich, Johann Christoph Friedrich, andJohann Christian, all of whom became significant musicians; Elisabeth Juliane Friederica (172681), whomarried Bach's pupil Johann Christoph Altnickol; Johanna Carolina (173781); and Regina Susanna (17421809).[42]

Leipzig (172350)

In 1723, Bach was appointed Thomaskantor, Cantor of the Thomasschule at the Thomaskirche (St. ThomasChurch) in Leipzig which served four churches in the city, the Thomaskirche, the Nikolaikirche (St.Nicholas Church), the Neue Kirche and the Peterskirche,[43] and musical director of public functions such as

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St. Thomas Church, Leipzig

St. Nicholas Church, Leipzig, c.1850

city council elections and homages. This was a prestigious post in the mercantile city in the Electorate ofSaxony, which he held for 27 years until his death. It brought him into contact with the politicalmachinations of his employer, Leipzig's city council.

Bach was required to instruct the students of the Thomasschule in singing and to provide church music forthe main churches in Leipzig. Bach was required to teach Latin,but he was allowed to employ a deputy to do this instead. Acantata was required for the church services on Sundays andadditional church holidays during the liturgical year. He usuallyperformed his own cantatas, most of which were composed duringhis first three years in Leipzig. The first of these was Die Elendensollen essen, BWV 75, first performed in the Nikolaikirche on 30May 1723, the first Sunday after Trinity. Bach collected hiscantatas in annual cycles. Five are mentioned in obituaries, threeare extant.[32] Of the over three hundred cantatas which Bachcomposed in Leipzig, approximately one hundred have been lostto posterity.[19] Most of these concerted works expound on theGospel readings prescribed for every Sunday and feast day in theLutheran year. Bach started a second annual cycle the first Sundayafter Trinity of 1724, and composed only chorale cantatas, eachbased on a single church hymn. These include O Ewigkeit, duDonnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV140, Nun komm, der Heiden Heiland, BWV 62, and Wie schnleuchtet der Morgenstern, BWV 1.

Bach drew the soprano and alto choristers from the School, andthe tenors and basses from the School and elsewhere in Leipzig.Performing at weddings and funerals provided extra income forthese groups; it was probably for this purpose, and for in-schooltraining, that he wrote at least six motets.[44] As part of his regularchurch work, he performed other composers' motets, which servedas formal models for his own.[45]

Bach's predecessor as Cantor, Johann Kuhnau, had also beenmusic director for the Paulinerkirche, the church of LeipzigUniversity. But when Bach was installed as Cantor in 1723, hewas put in charge only of music for "festal" (church holiday)services at the Paulinerkirche; his petition to provide music alsofor regular Sunday services there (for corresponding salaryincrease) went all the way up to King Augustus II but was denied.After this, in 1725, Bach "lost interest" in working even for festalservices at the Paulinerkirche and appeared there only on "specialoccasions".[46] The Paulinerkirche had a much better and newer (1716) organ than did the Thomaskirche orthe Nikolaikirche. Bach had been consulted officially about the 1716 organ after its completion, came fromKthen, and submitted a report.[47] Bach was not required to play any organ in his official duties, but it isbelieved he liked to play on the Paulinerkirche organ "for his own pleasure".[48]

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Caf Zimmermann, Leipzig, where theCollegium Musicum performed

Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, thedirectorship of the Collegium Musicum, a secular performance ensemble started by the composer GeorgPhilipp Telemann. This was one of the dozens of private societies in the major German-speaking cities thatwas established by musically active university students; these societies had become increasingly important inpublic musical life and were typically led by the most prominent professionals in a city. In the words ofChristoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip onLeipzig's principal musical institutions".[49] Year round, the Leipzig's Collegium Musicum performedregularly in venues such as the Caf Zimmermann, a coffeehouse on Catherine Street off the main marketsquare. Many of Bach's works during the 1730s and 1740s werewritten for and performed by the Collegium Musicum; amongthese were parts of his Clavier-bung (Keyboard Practice) andmany of his violin and keyboard concertos.[17]

In 1733, Bach composed a mass for the Dresden court (Kyrie andGloria) which he later incorporated in his Mass in B minor. Hepresented the manuscript to the King of Poland, Grand Duke ofLithuania and Elector of Saxony, Augustus III in an eventuallysuccessful bid to persuade the monarch to appoint him as RoyalCourt Composer.[4] He later extended this work into a full mass,by adding a Credo, Sanctus and Agnus Dei, the music for whichwas partly based on his own cantatas, partly new composed.Bach's appointment as court composer was part of his long-termstruggle to achieve greater bargaining power with the Leipzigcouncil. Between 1737 and 1739, Bach's former pupil CarlGotthelf Gerlach took over the directorship of the CollegiumMusicum.

In 1747, Bach visited the court of King Frederick II at Potsdam.The king played a theme for Bach and challenged him toimprovise a fugue based on his theme. Bach improvised a three-part fugue on one of Frederick's fortepianos, then a novelty, andlater presented the king with a Musical Offering which consists offugues, canons and a trio based on this theme. Its six-part fugueincludes a slightly altered subject more suitable for extensiveelaboration.

In the same year Bach joined the Corresponding Society of theMusical Sciences (Correspondierende Societt der musicalischenWissenschaften) of Lorenz Christoph Mizler. On the occasion of his entry into the Society Bach composedthe Canonic Variations on "Vom Himmel hoch da komm' ich her" (BWV 769).[50] A portrait had to besubmitted by each member of the Society, so in 1746, during the preparation of Bach's entry, the famousBach-portrait was painted by Elias Gottlob Haussmann.[51] The Canon triplex 6 Voc. (BWV 1076) on thisportrait was dedicated to the Society.[52] Other late works by Bach may also have a connection with themusic theory based Society.[53] One of those works was The Art of Fugue, which consists of 18 complexfugues and canons based on a simple theme.[54] The Art of Fugue was only published posthumously in1751.[55]

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Places where Bach lived

Bach's grave, St. ThomasChurch, Leipzig

Bach's last large work was the Mass in B minor (174849) which Stauffer describes as "Bach's mostuniversal church work. Consisting mainly of recycled movements from cantatas written over a thirty-fiveyear period, it allowed Bach to survey his vocal pieces one last time and pick select movements for furtherrevision and refinement."[19] Although the complete mass was never performed during the composer'slifetime, it is considered to be among the greatest choral works of all time.[56]

Death (1750)

Bach's health declined in 1749; on 2 June, Heinrich von Brhl wrote to one of the Leipzig burgomasters torequest that his music director, Johann Gottlob Harrer, fill the Thomaskantor and Director musices posts"upon the eventual ... decease of Mr. Bach".[57] Bach became increasingly blind, so the British eye surgeonJohn Taylor operated on Bach while visiting Leipzig in March orApril 1750.[58]

On 28 July 1750 Bach died at the age of 65. A contemporarynewspaper reported "the unhappy consequences of the veryunsuccessful eye operation" as the cause of death.[59] Modernhistorians speculate that the cause of death was a strokecomplicated by pneumonia.[6][7][8] His son Carl Philipp Emanueland his pupil Johann Friedrich Agricola wrote an obituary ofBach.[60] In 1754, it was published by Lorenz Christoph Mizler inthe musical periodical Musikalische Bibliothek. This obituaryarguably remains "the richest and most trustworthy"[61] earlysource document about Bach.

Bach's estate included five harpsichords, two lute-harpsichords,three violins, three violas, two cellos, a viola da gamba, a lute anda spinet, and 52 "sacred books", including books by Martin Luther andJosephus.[62] He was originally buried at Old St. John's Cemetery in Leipzig.His grave went unmarked for nearly 150 years. In 1894, his remains werelocated and moved to a vault in St. John's Church. This building wasdestroyed by Allied bombing during World War II, so in 1950 Bach'sremains were taken to their present grave in St. Thomas Church.[17] Laterresearch has called into question whether the remains in the grave areactually those of Bach.[63]

Legacy

Will and testament

At the time of his death, Bach's family was faced with recognizing that hehad not executed a formal Last Will during his lifetime and that his property was to be disbursed accordingto state law.[2] By law, of the estimated equivalent of the relatively modest amount of $100,000, one third ofBach's property and savings went to his surviving wife, and two thirds of his property was to be dividedamong his ten surviving children. Many of Bach's unpublished manuscripts, recorded meticulously on highquality transcription paper, were also distributed among the family members. Unfortunately, the poorfinancial condition of some of the family members led to the undocumented sale or destruction of parts of

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Statue of Bach, Leipzig

the unpublished compositions of Bach, including over 100 cantatas and his St Mark Passion, of which nocopies are known to survive.[2] At one point, the diary of one family member records the selling of the highquality parchment used for the hand-written transcriptions to be used for their stock value as packing paperat a local butcher shop due to harsh financial necessity. As Robert Greenberg states concerning Bach'sreputation at the time of his death, "Bach was not considered by his contemporaries as a composer of the firstor even second rank."[2] Greenberg notes with some irony that at the time of his death, two of Bach's sonshad higher reputations as composers than their father, who was admired primarily as a virtuoso of theorgan.[2]

Legacy in the 18th and 19th century

After his death, Bach's reputation as a composer at first declined; his work was regarded as old-fashionedcompared to the emerging galant style.[64] Initially he was remembered more as a player and teacher.

During the late 18th and early 19th century, Bach was recognised by several prominent composers for hiskeyboard work. Wolfgang Amadeus Mozart, Ludwig van Beethoven, Frdric Chopin, Robert Schumann,and Felix Mendelssohn were among his admirers; they began writing in a more contrapuntal style after beingexposed to Bach's music.[65] Beethoven described him as "Urvater der Harmonie", the "original father ofharmony".[66]

Bach's reputation among the wider public was enhanced in part by JohannNikolaus Forkel's 1802 biography of the composer.[67] Felix Mendelssohn,almost 80 years after Bach's death, significantly contributed to the historicalrecognition of Bach's reputation as a composer with his 1829 Berlinperformance of the St Matthew Passion.[68] With the backing of CarlFriedrich Zelter, Mendelssohn arranged and conducted a performance of theSt Matthew Passion. Four years previously his grandmother, Bella Salomon,had given him a copy of the manuscript of this (by then all-but-forgotten)masterpiece.[69] The orchestra and choir for the performance were providedby the Sing-Akademie zu Berlin. The success of this performancethe firstsince Bach's death in 1750was an important element in the revival ofBach's music in Germany and, eventually, throughout Europe.[70] In 1850,the Bach-Gesellschaft (Bach Society) was founded to promote the works; in1899 the Society published a comprehensive edition of the composer's works

with little editorial intervention.

During the 20th century, the process of recognising the musical as well as the pedagogic value of some ofthe works continued, perhaps most notably in the promotion of the cello suites by Pablo Casals, the firstmajor performer to record these suites.[71] Another development has been the growth of the historicallyinformed performance movement, which attempts to present music as the composer intended it. Examplesinclude the playing of keyboard works on harpsichord rather than modern grand piano and the use of smallchoirs or single voices instead of the larger forces favoured by 19th- and early 20th-century performers.[72]

The liturgical calendar of the Episcopal Church remembers Bach annually with a feast day on 28 July,together with George Frideric Handel and Henry Purcell; the Calendar of Saints of the Lutheran Church, onthe same day remembers Bach and Handel with Heinrich Schtz. In other circles, Bach's music is bracketedwith the literature of William Shakespeare and the science of Isaac Newton.[73]

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Wachet auf, ruft uns die Stimme(BWV 140)

opening chorale from cantataBWV 140, performed by the MITConcert Choir

Prelude No. 1 in C major (BWV 846)

from The Well-Tempered Clavier,Book 1, performed on harpsichord byRobert Schrter

Aria from the Goldberg Variations(BWV 988)

opening aria from the GoldbergVariations, performed on piano byKimiko Ishizaka

Cello Suite No. 1 in G major(BWV 1007)

prelude from Cello Suite No. 1,performed by John Michel

Problems playing these files? See media help.

During the 20th century, many streets in Germany were named and statues were erected in honour of Bach.A large crater in the Bach quadrangle on Mercury is named in Bach's honour[74] as are the main-beltasteroids 1814 Bach and 1482 Sebastiana.[75] Bach's music features three timesmore than that of any othercomposeron the Voyager Golden Record, a gramophone record containing a broad sample of the images,common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[76]

WorksIn 1950, a thematic catalogue called Bach-Werke-Verzeichnis (Bach Works Catalogue) was compiled byWolfgang Schmieder.[77] Schmieder largely followed theBach-Gesellschaft-Ausgabe, a comprehensive edition ofthe composer's works that was produced between 1850and 1905: BWV 1224 are cantatas; BWV 225249,large-scale choral works including his Passions; BWV250524, chorales and sacred songs; BWV 525748,organ works; BWV 772994, other keyboard works;BWV 9951000, lute music; BWV 100140, chambermusic; BWV 104171, orchestral music; and BWV10721126, canons and fugues.[78]

Organ works

Bach was best known during his lifetime as an organist,organ consultant, and composer of organ works in boththe traditional German free genressuch as preludes,fantasias, and toccatasand stricter forms, such aschorale preludes and fugues.[17] At a young age, heestablished a reputation for his great creativity and abilityto integrate foreign styles into his organ works. Adecidedly North German influence was exerted by GeorgBhm, with whom Bach came into contact in Lneburg,and Dieterich Buxtehude, whom the young organistvisited in Lbeck in 1704 on an extended leave ofabsence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italiancomposers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldiand others for organ and harpsichord. During his most productive period (170814) he composed about adozen pairs of preludes and fugues, five toccatas and fugues, and the Little Organ Book, an unfinishedcollection of 46 short chorale preludes that demonstrates compositional techniques in the setting of choraletunes. After leaving Weimar, Bach wrote less for organ, although some of his best-known works (the six triosonatas, the German Organ Mass in Clavier-bung III from 1739, and the Great Eighteen chorales, revisedlate in his life) were composed after his leaving Weimar. Bach was extensively engaged later in his life inconsulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.[79][80]

Other keyboard works

Bach wrote many works for harpsichord, some of which may have been played on the clavichord. Many ofhis keyboard works are anthologies that encompass whole theoretical systems in an encyclopaedic fashion.

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The title page of the third part of the Clavier-bung, one of the few works by Bach that waspublished during his lifetime

The Well-Tempered Clavier, Books 1 and 2 (BWV 846893). Each book consists of a prelude andfugue in each of the 24 major and minor keys inchromatic order from C major to B minor (thus, thewhole collection is often referred to as "the 48")."Well-tempered" in the title refers to the temperament(system of tuning); many temperaments before Bach'stime were not flexible enough to allow compositions

to utilise more than just a few keys.[81][82]

The Inventions and Sinfonias (BWV 772801). Theseshort two- and three-part contrapuntal works arearranged in the same chromatic order as The Well-Tempered Clavier, omitting some of the rarer keys.These pieces were intended by Bach for instructional

purposes.[83]

Three collections of dance suites: the English Suites (BWV 806811), the French Suites (BWV 812817), and the Partitas for keyboard (Clavier-bung I, BWV 825830). Each collection contains sixsuites built on the standard model (AllemandeCouranteSarabande(optional movement)Gigue).The English Suites closely follow the traditional model, adding a prelude before the allemande and

including a single movement between the sarabande and the gigue.[84] The French Suites omit

preludes, but have multiple movements between the sarabande and the gigue.[85] The partitas expandthe model further with elaborate introductory movements and miscellaneous movements between the

basic elements of the model.[86]

The Goldberg Variations (BWV 988), an aria with thirty variations. The collection has a complex andunconventional structure: the variations build on the bass line of the aria, rather than its melody, andmusical canons are interpolated according to a grand plan. There are nine canons within the thirty

variations, every third variation is a canon.[87] These variations move in order from canon at theunison to canon at the ninth. The first eight are in pairs (unison and octave, second and seventh, thirdand sixth, fourth and fifth). The ninth canon stands on its own due to compositional dissimilarities.The final variation, instead of being the expected canon at the tenth, is a quodlibet.Miscellaneous pieces such as the Overture in the French Style (French Overture, BWV 831) and theItalian Concerto (BWV 971) (published together as Clavier-bung II), and the Chromatic Fantasiaand Fugue (BWV 903).

Among Bach's lesser known keyboard works are seven toccatas (BWV 910916), four duets (BWV 802805), sonatas for keyboard (BWV 963967), the Six Little Preludes (BWV 933938), and the Aria variataalla maniera italiana (BWV 989).

Orchestral and chamber music

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Bach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his sixsonatas and partitas for violin (BWV 10011006), six cello suites (BWV 10071012), and partita for soloflute (BWV 1013), are widely considered among the most profound works in the repertoire.[88] Bachcomposed a suite and several other works for solo lute. He wrote trio sonatas; solo sonatas (accompanied bycontinuo) for the flute and for the viola da gamba; and a large number of canons and ricercars, mostly withunspecified instrumentation. The most significant examples of the latter are contained in The Art of Fugueand The Musical Offering.

Bach's best-known orchestral works are the Brandenburg Concertos, so named because he submitted them inthe hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; hisapplication was unsuccessful.[17] These works are examples of the concerto grosso genre. Other survivingworks in the concerto form include two violin concertos (BWV 1041 and BWV 1042); a concerto for twoviolins in D minor (BWV 1043), often referred to as Bach's "double" concerto; and concertos for one to fourharpsichords. It is widely accepted that many of the harpsichord concertos were not original works, butarrangements of his concertos for other instruments now lost.[89] A number of violin, oboe, and fluteconcertos have been reconstructed from these. In addition to concertos, Bach wrote four orchestral suites,and a series of stylised dances for orchestra, each preceded by a French overture.[90]

Vocal and choral works

Cantatas

As the Thomaskantor, beginning mid of 1723, Bach performed a cantata each Sunday and feast day thatcorresponded to the lectionary readings of the week.[17] Although Bach performed cantatas by othercomposers, he composed at least three entire annual cycles of cantatas at Leipzig, in addition to thosecomposed at Mhlhausen and Weimar.[17] In total he wrote more than 300 sacred cantatas, of whichapproximately 200 survive.[91]

His cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses,small instrumental groups, and grand orchestras. Many consist of a large opening chorus followed by one ormore recitative-aria pairs for soloists (or duets) and a concluding chorale. The recitative is part of thecorresponding Bible reading for the week and the aria is a contemporary reflection on it. The melody of theconcluding chorale often appears as a cantus firmus in the opening movement. Among his best knowncantatas are:

Christ lag in Todes Banden, BWV 4Ich hatte viel Bekmmernis, BWV 21Ein feste Burg ist unser Gott, BWV 80Gottes Zeit ist die allerbeste Zeit, BWV 106 (Actus Tragicus)Wachet auf, ruft uns die Stimme, BWV 140Herz und Mund und Tat und Leben, BWV 147

In addition, Bach wrote a number of secular cantatas, usually for civic events such as council inaugurations.These include wedding cantatas, the Wedding Quodlibet, the Peasant Cantata, and the Coffee Cantata.[92]

Motets

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Bach's seal, used throughout hisLeipzig years. It contains the lettersJ S B superimposed over their mirrorimage topped with a crown.

Bach's motets (BWV 225231) are pieces on sacred themes for choir and basso continuo, with instrumentsplaying colla parte. Several of them were composed for funerals.[93] The six motets certainly composed byBach are Singet dem Herrn ein neues Lied, Der Geist hilft unser Schwachheit auf, Jesu, meine Freude,Frchte dich nicht, Komm, Jesu, komm, and Lobet den Herrn, alle Heiden. The motet Sei Lob und Preis mitEhren (BWV 231) is part of the composite motet Jauchzet dem Herrn, alle Welt (BWV Anh. 160), otherparts of which may be based on work by Telemann.[94]

Passions, oratorios, Magnificat

Bach's large choral-orchestral works include the grand scale St Matthew Passion and St John Passion, bothwritten for Good Friday vesper services at the Thomaskirche and the Nikolaikirche in alternate years, andthe Christmas Oratorio (a set of six cantatas for use in the liturgical season of Christmas).[95][96][97] Shorterworks are the Easter Oratorio, the Ascension Oratorio, and the Magnificat.

Mass in B minor

Bach assembled his last large work, the Mass in B minor, near the end of his life, between 1748 and 1749.The mass was never performed in full during Bach's lifetime.[98][99] He incorporated the Sanctus of 1724and the Missa in B minor, composed in 1733. He derived many movements from his cantatas, such asWeinen, Klagen, Sorgen, Zagen, BWV 12, written in 1714, and composed some new movements. All ofthese movements have substantial solo parts as well as choruses. It is not known what direction ofdevelopment Bach had intended for his last Mass to take. As Stauffer states, "If Bach had lived longer, it islikely that he would have created a definitive fair copy of the Mass, similar to those of the St. John and St.Matthew Passions... As Otto Bettmann once remarked, Bach's 'music sets in order what life cannot.' "[19]

Musical styleBach's musical style arose from his skill in contrapuntal inventionand motivic control, his flair for improvisation, his exposure to Northand South German, Italian and French music, and his devotion to theLutheran liturgy. His access to musicians, scores and instruments as achild and a young man and his emerging talent for writing tightlywoven music of powerful sonority, allowed him to develop aneclectic, energetic musical style in which foreign influences werecombined with an intensified version of the pre-existing Germanmusical language. From the period 171314 onward he learned muchfrom the style of the Italians.[100]

During the Baroque period, many composers only wrote the framework, and performers embellished thisframework with ornaments and other elaboration.[101] This practice varied considerably between the schoolsof European music; Bach notated most or all of the details of his melodic lines, leaving little for performersto interpolate. This accounted for his control over the dense contrapuntal textures that he favoured, anddecreased leeway for spontaneous variation of musical lines. At the same time, Bach left the instrumentationof major works including The Art of Fugue open.[102]

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Bach's devout relationship with the Christian God in the Lutheran tradition[103] and the high demand forreligious music of his times placed sacred music at the centre of his repertory.[104] He taught Luther's SmallCatechism as the Thomaskantor in Leipzig, and some of his pieces represent it;[105] the Lutheran choralehymn tune was the basis of much of his work. He wrote more cogent, tightly integrated chorale preludesthan most. The large-scale structure of some of Bach's sacred works is evidence of subtle, elaborateplanning. For example, the St Matthew Passion illustrates the Passion with Bible text reflected in recitatives,arias, choruses, and chorales.[106]

Bach's drive to display musical achievements was evident in his composition. He wrote much for thekeyboard and led its elevation from continuo to solo instrument with harpsichord concertos and keyboardobbligato.[107] Bach produced collections of movements that explored the range of artistic and technicalpossibilities inherent in various genres. The most famous example is The Well-Tempered Clavier, in whicheach book presents a prelude and fugue in every major and minor key. Each fugue displays a variety ofcontrapuntal and fugal techniques.[108]

Performances

Present-day Bach performers usually pursue one of two traditions: so-called "authentic performancepractice", utilising historical techniques; or the use of modern instruments and playing techniques, often withlarger ensembles. In Bach's time orchestras and choirs were usually smaller than those of later composers,and even Bach's most ambitious choral works, such as his Mass in B minor and Passions, were composed forrelatively modest forces. Some of Bach's important chamber music does not indicate instrumentation, whichallows for a greater variety of ensembles.

Modern adaptations of Bach's music contributed greatly to Bach's popularisation in the second half of the20th century. Among these were the Swingle Singers' versions of Bach pieces (for instance, the "Air" fromOrchestral Suite No. 3, or the Wachet Auf... chorale prelude) and Wendy Carlos' 1968 Switched-On Bach,which used the Moog electronic synthesiser. Jazz musicians have adopted Bach's music, with JacquesLoussier, Ian Anderson, Uri Caine, and the Modern Jazz Quartet among those creating jazz versions of Bachworks.[109]

See also

List of fugal works by Johann Sebastian BachList of transcriptions of compositions by Johann Sebastian BachList of students of Johann Sebastian Bach

References

1. German pronunciation: [johan] or [johan zebastjan ba]; English pronunciation: /bx/2. Robert Greenberg, Bach and the High Baroque, Chapter 32, The Teaching Company.3. Wolff (2000), pp. 19, 464. "BACH Mass in B Minor BWV 232" (http://www.baroquemusic.org/bminormass.html). The Baroque Music Site.

Retrieved 21 February 2012.5. Miles (1962), pp. 86876. Breitenfeld, Tomislav; Vargek-Solter, Vesna; Breitenfeld, Darko; Zavoreo, Iris & Demarin, Vida (2006). "Johann

http://en.wikipedia.org/wiki/Johann_Sebastian_Bach#cite_note-103http://en.wikipedia.org/wiki/Johann_Sebastian_Bach#cite_note-104http://en.wikipedia.org/wiki/Luther%27s_Small_Catechismhttp://en.wikipedia.org/wiki/Johann_Sebastian_Bach#cite_note-105http://en.wikipedia.org/wiki/Passion_(Christianity)http://en.wikipedia.org/wiki/Johann_Sebastian_Bach#cite_note-106http://en.wikipedia.org/wiki/Obbligatohttp://en.wikipedia.org/wiki/Johann_Sebastian_Bach#cite_note-107http://en.wikipedia.org/wiki/Johann_Sebastian_Bach#cite_note-108http://en.wikipedia.org/wiki/Historically_informed_performancehttp://en.wikipedia.org/wiki/The_Swingle_Singershttp://en.wikipedia.org/wiki/Orchestral_suites_(Bach)#Suite_No._3_in_D_major.2C_BWV_1068http://en.wikipedia.org/wiki/Wendy_Carloshttp://en.wikipedia.org/wiki/Switched-On_Bachhttp://en.wikipedia.org/wiki/Moog_synthesizerhttp://en.wikipedia.org/wiki/Jacques_Loussierhttp://en.wikipedia.org/wiki/Ian_Andersonhttp://en.wikipedia.org/wiki/Uri_Cainehttp://en.wikipedia.org/wiki/Modern_Jazz_Quartethttp://en.wikipedia.org/wiki/Johann_Sebastian_Bach#cite_note-109http://en.wikipedia.org/wiki/List_of_fugal_works_by_Johann_Sebastian_Bachhttp://en.wikipedia.org/wiki/List_of_transcriptions_of_compositions_by_Johann_Sebastian_Bachhttp://en.wikipedia.org/wiki/List_of_students_of_Johann_Sebastian_Bachhttp://en.wikipedia.org/wiki/Help:IPA_for_Germanhttp://en.wikipedia.org/wiki/Help:IPA_for_Germanhttp://en.wikipedia.org/wiki/Help:IPA_for_Englishhttp://en.wikipedia.org/wiki/Help:IPA_for_English#Keyhttp://en.wikipedia.org/wiki/Help:IPA_for_English#Keyhttp://en.wikipedia.org/wiki/Help:IPA_for_English#Keyhttp://en.wikipedia.org/wiki/Help:IPA_for_English#Keyhttp://en.wikipedia.org/wiki/Help:IPA_for_Englishhttp://en.wikipedia.org/wiki/Robert_Greenberghttp://www.baroquemusic.org/bminormass.htmlhttp://hrcak.srce.hr/index.php?show=clanak_download&id_clanak_jezik=21520

6. Breitenfeld, Tomislav; Vargek-Solter, Vesna; Breitenfeld, Darko; Zavoreo, Iris & Demarin, Vida (2006). "JohannSebastian Bach's Strokes" (http://hrcak.srce.hr/index.php?show=clanak_download&id_clanak_jezik=21520) (PDF).Acta Clinica Croatica (Sisters of Charity Hospital) 45 (1).

7. Baer, Karl A. (1956). "Johann Sebastian Bach (16851750) in medical history"(http://www.ncbi.nlm.nih.gov/pmc/articles/PMC195117/). Bulletin of the Medical Library Association (MedicalLibrary Association) 39 (206).

8. Breitenfeld, D.; Thaller, V.; Breitenfeld, T.; Golik-Gruber, V.; Pogorevc, T.; Zorii, Z. & Grubii, F. (2000). "Thepathography of Bach's family". Alcoholism 36: 16164.

9. Blanning, T. C. W. (2008). The Triumph of Music: The Rise of Composers, Musicians and Their Art(https://books.google.com/books?id=6RptffQRvEEC&pg=PA272). p. 272. "And of course the greatest master ofharmony and counterpoint of all time was Johann Sebastian Bach, 'the Homer of music'."

10. Jones (2007), p. 311. "Lesson Plans" (https://web.archive.org/web/20130116113053/http://www.bach.org/school_lessons.html). Bach to

School. The Bach Choir of Bethlehem. Archived from the original (http://www.bach.org/bachtoschool.php) on 16January 2013. Retrieved 23 December 2014.

12. Boyd (2000), p. 613. Printed in translation in David, Mendel & Wolff (1998), p. 28314. Boyd (2000), pp. 7815. David, Mendel & Wolff (1998), p. 29916. Wolff (2000), p. 4517. "Johann Sebastian Bach: a detailed informative biography" (http://www.baroquemusic.org/bqxjsbach.html). The

Baroque Music Site. Retrieved 19 February 2012.18. Wolff (2000), pp. 414319. Stauffer, George B. (20 February 2014). "Why Bach Moves Us"

(http://www.nybooks.com/articles/archives/2014/feb/20/why-bach-moves-us/). The New York Review of Books.Retrieved 10 April 2014.

20. Geiringer (1966), p. 1321. Rich (1995), p. 2722. Boyd (2000), pp. 151623. Chiapusso (1968), p. 6224. "Basic Repertoire List Buxtehude" (http://www.classical.net/music/comp.lst/buxtehude.php). Classical Net.

Retrieved 20 September 2008.25. Towe, Teri Noel. "The Portrait in Erfurt Alleged to Depict Bach, the Weimar Concertmeister"

(https://web.archive.org/web/20110716074347/http://www.npj.com/thefaceofbach/09w624.html). The Face Of Bach.Archived from the original (http://www.npj.com/thefaceofbach/09w624.html) on 16 July 2011. Retrieved23 December 2014.

26. Thornburgh, Elaine. "Baroque Music Part One" (http://trumpet.sdsu.edu/M345/Baroque_Music1.html). Music inOur World. San Diego State University. Retrieved 24 December 2014.

27. Chiapusso (1968), p. 16828. Schweitzer (1935), p. 33129. Koster, Jan. "Weimar (II) 17081717" (http://www.let.rug.nl/Linguistics/diversen/bach/weimar2.html). J.S. Bach

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