Bach Johann Sebastian, whose biography is of interest to many music lovers, has become one of the greatest composers in its history. In addition, he was a performer, a virtuoso organist, and a talented teacher. In this article, we will look at the life of Johann Sebastian Bach, as well as present his work. The composer's works are often heard in concert halls around the world.
Johann Sebastian Bach (March 31 (21 - old style) 1685 - July 28, 1750) was a German composer and musician of the Baroque era. He enriched the musical style created in Germany thanks to his mastery of counterpoint and harmony, adapted foreign rhythms and forms, borrowed, in particular, from Italy and France. Bach's works are "Goldberg Variations", "Brandenburg Concertos", "Mass in B Minor", more than 300 cantatas, of which 190 have survived, and many other compositions. His music is considered highly technical, filled with artistic beauty and intellectual depth.
Johann Sebastian Bach. short biography
Bach was born in Eisenach into a family of hereditary musicians. His father, Johann Ambrosius Bach, was the founder of the city's music concerts, and all his uncles were professional performers. The composer's father taught his son to play the violin and harpsichord, and his brother, Johann Christoph, taught the clavichord, and also introduced Johann Sebastian to modern music. Partly on his own initiative, Bach attended St. Michael's Vocal School in Lüneburg for 2 years. After certification, he held several musical positions in Germany, in particular, the court musician of Duke Johann Ernst in Weimar, the caretaker of the organ in the church named after St. Boniface, located in Arnstadt.
In 1749, Bach's eyesight and general health deteriorated, and he died in 1750, on July 28. Modern historians believe that the cause of his death was a combination of stroke and pneumonia. The fame of Johann Sebastian as a magnificent organist spread throughout Europe during Bach's lifetime, although he was not yet so popular as a composer. As a composer, he became known a little later, in the first half of the 19th century, when interest in his music revived. Currently, Bach Johann Sebastian, whose biography is presented in a more complete version below, is considered one of the greatest musical creators in history.
Childhood (1685 - 1703)
Johann Sebastian Bach was born in Eisenach, in 1685, on March 21, according to the old style (according to the new one, on the 31st of the same month). He was the son of Johann Ambrosius and Elisabeth Lemmerhirt. The composer became the eighth child in the family (the eldest son at the time of Bach's birth was 14 years older than him). The mother of the future composer died in 1694, and his father eight months later. Bach at that time was 10 years old, and he moved to live with Johann Christoph, his older brother (1671 - 1731). There he studied, performed and rewrote music, including his brother's, despite being forbidden to do so. From Johann Christoph, he adopted many knowledge in the field of music. At the same time, Bach studied theology, Latin, Greek, French, Italian at the local gymnasium. As Johann Sebastian Bach later admitted, the classics inspired and amazed him from the very beginning.
Arnstadt, Weimar and Mühlhausen (1703 - 1717)
In 1703, after finishing his studies at St. Michael's School in Lüneburg, the composer was appointed court musician to Duke Johann Ernst III's chapel in Weimar. During his seven-month stay there, Bach established a reputation as an excellent keyboard player, and he was invited to a new position as caretaker of the organ at the church of St. Boniface, located in Arnstadt, 30 km southwest of Weimar. Despite good family connections and his own musical enthusiasm, tensions arose with his superiors after several years of service. In 1706, Bach was offered the post of organist at St. Blaise's (Mühlhausen), which he took up the following year. The new position paid much more, included much better working conditions, as well as a more professional choir with which Bach was to work. Four months later, the wedding of Johann Sebastian and Maria Barbara took place. They had seven children, four of whom survived to adulthood, including Wilhelm Friedemann and Carl Philipp Emanuel, who later became well-known composers.
In 1708, Johann Sebastian Bach, whose biography took a new direction, leaves Mühlhausen and returns to Weimar, this time as an organist, and since 1714 as a concert organizer, and has the opportunity to work with more professional musicians. In this city, the composer continues to play and compose works for the organ. He also began to write preludes and fugues, which later became part of his monumental work, The Well-Tempered Clavier, which consisted of two volumes. Each of them includes preludes and fugues, written in all possible minor and major keys. Also in Weimar, the composer Johann Sebastian Bach set to work on the work "Organ Book", containing Lutheran chorales, a collection of choral preludes for organ. In 1717 he fell out of favor in Weimar, was taken into custody for almost a month and subsequently removed from office.
Köthen (1717 - 1723)
Leopold (an important person - Prince Anhalt-Köthen) offered Bach the job of bandmaster in 1717. Prince Leopold, being himself a musician, admired the talent of Johann Sebastian, paid him well and gave him considerable freedom in composing and performing. The prince was a Calvinist, and they do not use complex and sophisticated music in worship, respectively, the work of Johann Sebastian Bach of that period was secular and included orchestral suites, suites for cello solo, for clavier, as well as the famous Brandenburg Concertos. In 1720, on July 7, his wife Maria Barbara dies, having given birth to seven children. The composer's acquaintance with his second wife takes place next year. Johann Sebastian Bach, whose works are gradually gaining popularity, marries a girl named Anna Magdalena Wilke, a singer (soprano), in 1721, on December 3rd.
Leipzig (1723 - 1750)
In 1723, Bach received a new position, starting to work as cantor of the choir of St. Thomas. It was a prestigious service in Saxony, which the composer carried for 27 years, until his death. Bach's duties included teaching students how to sing and writing church music for the main churches in Leipzig. Johann Sebastian was also supposed to give Latin lessons, but he had the opportunity to hire a special person instead of himself. During Sunday services, as well as on holidays, cantatas were required for worship in the church, and the composer usually performed his own compositions, most of which appeared in the first 3 years of his stay in Leipzig.
Johann Sebastian Bach, whose authorship of classics is now well known to many people, expanded his composing and performing possibilities in March 1729 by taking charge of the College of Music, a secular gathering under the composer Georg Philipp Telemann. The college was one of dozens of private societies that were popular at that time in large German cities, created on the initiative of students in musical institutions. These associations played an important role in German musical life, being led for the most part by eminent specialists. Many of Bach's works from the period 1730-1740s. were written and performed at the College of Music. The last major work of Johann Sebastian - "Mass in B minor" (1748-1749), which was recognized as his most global church work. Although the Mass was never performed in its entirety during the author's lifetime, it is considered one of the composer's most outstanding works.
The Death of Bach (1750)
In 1749, the composer's health deteriorated. Bach Johann Sebastian, whose biography ends in 1750, began to suddenly lose his sight and turned to the English ophthalmologist John Taylor for help, who performed 2 operations in March-April 1750. However, both were unsuccessful. The composer's vision never returned. On July 28, at the age of 65, Johann Sebastian passed away. Modern newspapers wrote that "death was the result of an unsuccessful operation on the eyes." Currently, historians consider the cause of the composer's death to be a stroke complicated by pneumonia.
Carl Philipp Emmanuel, son of Johann Sebastian, and his student Johann Friedrich Agricola wrote an obituary. It was published in 1754 by Lorenz Christoph Mitzler in a musical magazine. Johann Sebastian Bach, whose brief biography is presented above, was originally buried in Leipzig, near the Church of St. John. The grave remained untouched for 150 years. Later, in 1894, the remains were transferred to a special storage in the Church of St. John, and in 1950 - to the Church of St. Thomas, where the composer still rests.
Organ creativity
Most of all, during his lifetime, Bach was known precisely as an organist and composer of organ music, which he wrote in all traditional German genres (preludes, fantasies). The favorite genres in which Johann Sebastian Bach created are toccata, fugue, choral preludes. His organ work is very diverse. At a young age, Johann Sebastian Bach (we have already briefly touched on his biography) earned a reputation as a very creative composer, able to adapt many foreign styles to the requirements of organ music. He was greatly influenced by the traditions of Northern Germany, in particular Georg Böhm, whom the composer met in Lüneburg, and Dietrich Buxtehude, whom Johann Sebastian visited in 1704 during an extended vacation. Around the same time, Bach rewrote the works of many Italian and French composers, and later Vivaldi's violin concertos, in order to breathe new life into them already as works for organ performance. During the most productive creative period (from 1708 to 1714), Johann Sebastian Bach wrote fugues and toccatas, several dozen pairs of preludes and fugues, and the Organ Book, an unfinished collection of 46 choral preludes. After leaving Weimar, the composer writes less organ music, although he creates a number of well-known works.
Other works for clavier
Bach wrote a great deal of harpsichord music, some of which can be played on the clavichord. Many of these writings are encyclopedic, incorporating the theoretical methods and techniques that Johann Sebastian Bach liked to use. The works (list) are presented below:
- The Well-Tempered Clavier is a two-volume work. Each volume contains preludes and fugues in all 24 major and minor keys in use, arranged in chromatic order.
- Inventions and overtures. These two- and three-part works are in the same order as the Well-Tempered Clavier, with the exception of some rare keys. They were created by Bach for educational purposes.
- 3 collections of dance suites, "French suites", "English suites" and scores for clavier.
- "Goldberg Variations".
- Various pieces such as "French Style Overture", "Italian Concerto".
Orchestral and chamber music
Johann Sebastian also wrote works for individual instruments, duets and small ensembles. Many of them, such as partitas and sonatas for solo violin, six different suites for solo cello, partita for solo flute, are considered among the most outstanding in the composer's repertoire. Johann Sebastian wrote Bach symphonies, and also created several compositions for solo lute. He also created trio sonatas, solo sonatas for flute and viola da gamba, a large number of ricercars and canons. For example, the cycles "Art of the Fugue", "Musical Offering". Bach's most famous orchestral work is the Brandenburg Concertos, so named because Johann Sebastian submitted it in the hope of getting a work from Christian Ludwig of Brandenburg-Swedish in 1721. His attempt, however, was unsuccessful. The genre of this work is concerto grosso. Other surviving works by Bach for orchestra: 2 violin concertos, a concerto written for two violins (key "D minor"), concertos for clavier and chamber orchestra (from one to four instruments).
Vocal and choral compositions
- Cantatas. Beginning in 1723, Bach worked in the church of St. Thomas, and every Sunday, as well as on holidays, he led the performance of cantatas. Although he sometimes staged cantatas by other composers, Johann Sebastian wrote at least 3 cycles of his works in Leipzig, not counting those composed in Weimar and Mühlhausen. In total, more than 300 cantatas were created on spiritual topics, of which approximately 200 have survived.
- Motets. Motets, authored by Johann Sebastian Bach, are works on spiritual themes for choir and basso continuo. Some of them were composed for funeral ceremonies.
- Passions, or passions, oratorios and magnificats. Bach's major works for choir and orchestra are the John Passion, the Matthew Passion (both written for Good Friday in the churches of St. Thomas and St. Nicholas) and the Christmas Oratorio (a cycle of 6 cantatas intended for the celebration ). Shorter compositions - "Easter Oratorio" and "Magnificat".
- "Mass in B minor". Bach created his last major work, Mass in B Minor, between 1748 and 1749. "Mass" was never staged in its entirety during the composer's lifetime.
musical style
Bach's musical style was shaped by his talent for counterpoint, ability to lead the motive, flair for improvisation, interest in the music of Northern and Southern Germany, Italy and France, as well as devotion to Lutheran traditions. Thanks to the fact that Johann Sebastian had access to many instruments and works in childhood and adolescence, as well as to the ever-increasing talent for writing dense music with amazing sonority, Bach's work was filled with eclecticism and energy, in which foreign influence was skillfully combined with already existing improved German music school. During the baroque period, many composers mainly composed only frame works, and the performers themselves supplemented them with their melodic embellishments and developments. This practice varies considerably among European schools. However, Bach composed most or all of the melodic lines and details himself, leaving little room for interpretation. This feature reflects the density of contrapuntal textures to which the composer gravitated, limiting the freedom of spontaneous change in musical lines. For some reason, some sources mention works by other authors that Johann Sebastian Bach allegedly wrote. Moonlight Sonata, for example. You and I, of course, remember that this work was created by Beethoven.
Execution
Modern performers of Bach's works usually follow one of two traditions: the so-called authentic (historically oriented performance) or modern (using modern instruments, often in large ensembles). In Bach's time, orchestras and choirs were much more modest than they are today, and even his most ambitious works, Passions and the Mass in B Minor, were written for far fewer performers. In addition, today you can hear very different versions of the sound of the same music, because in some of Johann Sebastian's chamber works, initially there was no instrumentation at all. Modern "lite" versions of Bach's works have made a great contribution to the popularization of his music in the 20th century. Among them are famous tunes performed by the Swinger Singers and Wendy Carlos' 1968 Switched-On-Bach recording using a newly invented synthesizer. Jazz musicians, such as Jacques Loussier, also showed interest in Bach's music. Joel Spiegelman performed an arrangement of his famous "Goldberg Variations", creating his new-age piece.
Toccata and Fugue in D minor, BWV 565 is a work for organ by Johann Sebastian Bach, one of his most popular compositions.
Toccata and Fugue in D Minor BWV 565 is included in all editions of the authoritative BWV catalog and in the (most complete) new edition of Bach's works (Neue Bach-Ausgabe, known as NBA).
The work was supposedly written by Bach during his stay in Arnstadt between 1703 and 1707. In January 1703, after finishing his studies, he received the position of court musician from the Weimar Duke Johann Ernst. It is not known exactly what his duties were, but, most likely, this position was not related to performing activities. For seven months of service in Weimar, the fame of him as a performer spread. Bach was invited to the post of superintendent 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 over as 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 tuned to a new system that expanded the possibilities of the composer and performer. During this period, Bach created many organ works.
A feature of this small polyphonic cycle is the continuity of the development of musical material (without a break between the toccata and fugue). The form consists of three parts: toccatas, fugues and codas. The latter, echoing the toccata, forms a thematic arc.
Title page of BWV 565 in a manuscript copy by Johannes Ringk. Due to the fact that Bach's autograph was lost, this copy, as of 2012, is the only source close in time to creation.
Toccata (in Italian toccata - touch, blow, from toccare - touch, touch) is a virtuoso piece of music for keyboard instruments (clavier, organ).
The beginning of the toccata
Fugue (Italian fuga - running, flight, fast flow) is the most developed form of polyphonic music, which has absorbed all the richness of polyphony. The content range of the fugue is practically unlimited, but the intellectual element prevails or is always felt in it. Fugue is distinguished by emotional fullness and at the same time restraint of expression.
This work begins with an alarming, but courageous strong-willed cry. It is heard three times, falling from one octave to another, and leads to a thunderous chordal rumble in the lower register. Thus, at the beginning of the toccata, a darkly shaded, grandiose sound space is outlined.
Johann Sebastian Bach's Toccata and Fugue in D Minor BWV 565 played by organist Hans-André Stamm on the Trost-Organ of the Stadtkirche in Waltershausen, Germany.
Further powerful "swirling" virtuoso passages are heard. The contrast between fast and slow movement is reminiscent of cautious respite between battles with violent elements. And after a free, improvisationally constructed toccata, a fugue sounds, in which the strong-willed principle, as it were, curbs elemental forces. And the last bars of the whole work are perceived as a harsh and majestic victory of the inexorable human will.
German composer Johann Sebastian Bach created more than 1000 pieces of music in his lifetime. He lived in the Baroque era and in his work summarized everything that was characteristic of the music of his time. Bach wrote in every genre available in the 18th century, with the exception of opera. Today, the works of this master of polyphony and virtuoso organist are listened to in a variety of situations - they are so diverse. One can find ingenuous humor and deep sorrow, philosophical reflections and the sharpest drama in his music.
Johann Sebastian Bach was born in 1685, he was the eighth and youngest child in the family. The father of the great composer Johann Ambrosius Bach was also a musician: the Bach family has been known for its musicality since the beginning of the 16th century. At that time, the creators of music enjoyed special honor in Saxony and Thuringia, they were supported by the authorities, aristocrats and representatives of the church.
Bach lost both parents by the age of 10, and his older brother, who worked as an organist, took up his upbringing. Johann Sebastian studied at the gymnasium, and at the same time received from his brother the skills of playing the organ and clavier. At the age of 15, Bach entered a vocal school and began to write his first works. After leaving school, he was briefly a court musician for the Duke of Weimar, and then became an organist in a church in the city of Arnstadt. It was then that the composer wrote a large number of organ works.
Soon, Bach began to have problems with the authorities: he expressed dissatisfaction with the level of training of the singers in the choir, and then completely left for another city for several months in order to get acquainted with the playing of the authoritative Danish-German organist Dietrich Buxtehude. Bach left for Mühlhausen, where he was invited to the same position - an organist in the church. In 1707, the composer married his cousin, who bore him seven children, three of whom died in infancy, and two later became famous composers.
In Mühlhausen, Bach worked for only a year, and then moved to Weimar, where he became court organist and organizer of concerts. By this time, he already enjoyed great recognition and received a high salary. It was in Weimar that the composer's talent reached its peak - for about 10 years he was continuously composing works for clavier, organ and orchestra.
By 1717, Bach had achieved all possible heights in Weimar and began to look for another job. At first, the old employer did not want to let him go, and even put him under arrest for a month. However, Bach soon left him and went to the city of Köthen. If earlier his music was largely composed for worship, then here, due to the special requirements of the employer, the composer began to write mainly secular works.
In 1720, Bach's wife suddenly died, but a year and a half later he married a young singer again.
In 1723, Johann Sebastian Bach became the cantor of the choir at the Church of St. Thomas in Leipzig, and then was appointed the "music director" of all the Churches that worked in the city. Bach continued to write music until his death - even having lost his sight, he dictated it to his son-in-law. The great composer died in 1750, now his remains are buried in the very Church of St. Thomas in Leipzig, where he worked for 27 years.
Toccata and Fugue in D minor, BWV 565 is a work for organ by Johann Sebastian Bach, one of his most popular compositions.
Toccata and Fugue in D Minor BWV 565 is included in all editions of the authoritative BWV catalog and in the (most complete) new edition of Bach's works (Neue Bach-Ausgabe, known as NBA).
The work was supposedly written by Bach during his stay in Arnstadt between 1703 and 1707. In January 1703, after finishing his studies, he received the position of court musician from the Weimar Duke Johann Ernst. It is not known exactly what his duties were, but, most likely, this position was not related to performing activities. For seven months of service in Weimar, the fame of him as a performer spread. Bach was invited to the post of superintendent 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 over as 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 tuned to a new system that expanded the possibilities of the composer and performer. During this period, Bach created many organ works.
A feature of this small polyphonic cycle is the continuity of the development of musical material (without a break between the toccata and fugue). The form consists of three parts: toccatas, fugues and codas. The latter, echoing the toccata, forms a thematic arc.
Title page of BWV 565 in a manuscript copy by Johannes Ringk. Due to the fact that Bach's autograph was lost, this copy, as of 2012, is the only source close in time to creation.
Toccata (in Italian toccata - touch, blow, from toccare - touch, touch) is a virtuoso piece of music for keyboard instruments (clavier, organ).
The beginning of the toccata
Fugue (Italian fuga - running, flight, fast flow) is the most developed form of polyphonic music, which has absorbed all the richness of polyphony. The content range of the fugue is practically unlimited, but the intellectual element prevails or is always felt in it. Fugue is distinguished by emotional fullness and at the same time restraint of expression.
This work begins with an alarming, but courageous strong-willed cry. It is heard three times, falling from one octave to another, and leads to a thunderous chordal rumble in the lower register. Thus, at the beginning of the toccata, a darkly shaded, grandiose sound space is outlined.
Johann Sebastian Bach's Toccata and Fugue in D Minor BWV 565 played by organist Hans-André Stamm on the Trost-Organ of the Stadtkirche in Waltershausen, Germany.
Further powerful "swirling" virtuoso passages are heard. The contrast between fast and slow movement is reminiscent of cautious respite between battles with violent elements. And after a free, improvisationally constructed toccata, a fugue sounds, in which the strong-willed principle, as it were, curbs elemental forces. And the last bars of the whole work are perceived as a harsh and majestic victory of the inexorable human will.
Childhood
Johann Sebastian Bach was the youngest, sixth child in the family of a musician Johanna Ambrosius Bach and Elisabeth Lemmerhirt. Genus Bakhov known for its musicality since the beginning of the 16th century: many ancestors and relatives Johann Sebastian were professional musicians. During this period, the Church, local authorities and the aristocracy supported the musicians, especially in Thuringia and Saxony. Father Bach lived and worked in Eisenach. At that time, the city had about 6,000 inhabitants. The work of Johann Ambrosius included organizing secular concerts and performing 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 elder brother, Johann Christoph, who served as organist in nearby Ohrdruf. Johann Sebastian entered the gymnasium, his brother taught him to play the organ and clavier. Johann Sebastian He was very fond of music and did not miss the opportunity to study it or study new works.
Studying in Ohrdruf under the guidance of a brother, Bach got acquainted with the work of contemporary South German composers - Pachelbel, Froberger and others. It is also possible that he became 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 vocal school of St. 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 Lübeck, where he had the opportunity to get acquainted with the work of famous musicians of his time. The first works by Bach for organ and clavier belong to the same years. In addition to singing in the acapella choir, Bach probably played the school's three-manual organ and harpsichord. Here he received his first knowledge of theology, Latin, history, geography and physics, and also, possibly, 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, especially with Georg Böhm in Lüneburg and Reinken in Hamburg. With their help Johann Sebastian arguably got access to the biggest instruments he has ever played. During this period, Bach expanded his knowledge of the composers of that era, most notably Dietrich Buxtehude, whom he greatly respected.
Arnstadt and Mühlhausen (1703-1708)
In January 1703, after finishing his studies, he received the position of court musician from the Weimar Duke Johann Ernst. It is not known exactly what his duties were, but, most likely, this position was not related to performing activities. For seven months of service in Weimar, the fame of him as a performer spread. Bach was invited to the post of superintendent of the organ in the church of St. Boniface in Arnstadt, located 180 km from Weimar. With this oldest German city in the family Bakhov there were long-term connections. In August Bach became 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 tuned to a new system that expanded the possibilities of the composer and performer. In this period Bach created many organ works.Family ties and a music-loving employer couldn't prevent tension between Johann Sebastian and the authorities, which arose a few years later. Bach was dissatisfied with the level of training of singers in the choir. In addition, in the years 1705-1706 Bach arbitrarily left for Lübeck for several months, where he got acquainted with the game of Buxtehude, which caused discontent of the authorities. First biographer Bach Forkel writes that Johann Sebastian walked 50 km on foot to listen to an outstanding composer, but today some researchers question this fact.
In addition, the authorities presented Bahu accusations of "strange choral accompaniment" that embarrassed the community, and inability to direct the choir; The latter accusation appears to have been justified.
In 1706 Bach decides to change jobs. He was offered a more profitable and high position as organist at St. Blaise's Church in Mühlhausen, a large city in the north of the country. Next year Bach accepted this offer, taking the place of organist Johanna George Ale. His salary was increased compared to the previous one, and the level of the choristers was better. Four months later, October 17, 1707 Johann Sebastian married his cousin Maria Barbara of Arnstadt. They subsequently had seven children, three of whom died in childhood. Two of the survivors - Wilhelm Friedemann and Carl Philipp Emmanuel - later became well-known composers.
The city and church authorities of Mühlhausen were pleased with the new employee. They approved without hesitation his plan for the restoration of the church organ, which required great expense, and for the publication of the festive cantata "The Lord is my king", BWV 71 (it was the only one printed during his lifetime Bach cantata), written for the inauguration of the new consul, he was given a large reward.
Weimar (1708-1717)
After working at Mühlhausen for about a year, Bach changed his job again, this time getting the position of court organist and organizer of concerts - a much higher position than his previous position - in Weimar. Probably, the factors that forced him to change jobs were high salaries and a well-chosen composition of professional musicians. Family Bach 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 to baham Maria Barbara's older unmarried sister moved in and helped them run the household until her death in 1729. In Weimar at Bach Wilhelm Friedemann and Carl Philipp Emmanuel were born. In 1704 Bach met the violinist von Westhof, who had a great influence on the activities Bach. Von Westhof's writings inspired Bach to create his sonatas and scores for violin solo.In Weimar, a long period of composing clavier and orchestral works began, in which talent Bach has flourished. In this period Bach absorbs musical influences from other countries. The works of the Italians Vivaldi and Corelli taught Bach write dramatic introductions, of which Bach learned the art of using dynamic rhythms and strong harmonic patterns. Bach he studied the works of Italian composers well, creating transcriptions of Vivaldi's concertos for organ or harpsichord. He could borrow the idea of writing arrangements from the son of his employer, Crown 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 notes, which he showed Johann Sebastian. In the Italian music of the crown duke (and, as can be seen from some works, Bach) attracted the alternation of solo (playing one instrument) and tutti (playing the whole orchestra).
In Weimar at Bach there was an opportunity to play and compose organ works, as well as to use the services of the ducal orchestra. In Weimar Bach wrote most of his fugues (the largest and most famous collection of fugues Bach is the Well-Tempered Clavier). While serving in Weimar Bach began work on the "Organ Book" - a collection of organ choral preludes, possibly for the training of Wilhelm Friedemann. This collection consists of adaptations of Lutheran chants.
Towards the end of his service in Weimar Bach was already a well-known organist and harpsichord maker. The episode with Marchand belongs to this time. In 1717, the famous French musician Louis Marchand arrived in Dresden. Dresden concertmaster Volumier decided to invite Bach and arrange a musical contest 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 play) hastily and secretly left the city; the competition did not take place, and Bahu had to play alone.
Köthen (1717-1723)
Over time 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 constant requests for resignation, but on December 2 he released him "with an expression of disgrace." Leopold, Prince of Anhalt-Köthen, hired Bach to the post of bandmaster. The prince, himself a musician, appreciated the talent Bach, paid him well and provided him with great freedom of action. However, the prince was a Calvinist and did not welcome the use of sophisticated music in worship, so most of the Köthen works Bach were secular. Among other things, in Köthen 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. The famous Brandenburg Concertos were written in the same period.July 7, 1720, while Bach was abroad with the prince, his wife Maria Barbara suddenly died, leaving four young children. Next year Bach met Anna Magdalena Wilke, a young highly gifted singer (soprano), who sang at the ducal court. They married on December 3, 1721.
Leipzig (1723-1750)
In 1723, the performance of his "Passion according to John" took place in the church of St. Thomas in Leipzig, and on June 1 Bach received the position of cantor of the choir of St. Thomas with the simultaneous fulfillment of the duties of a school teacher at the church, replacing Johann Kuhnau in this post. In charge Bach included teaching singing and holding weekly concerts in the two main churches of Leipzig, St. Thomas and St. Nicholas. Job title Johann Sebastian It also provided for the teaching of Latin, but he was allowed to hire an assistant to do this work for him, so Petzold taught 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, overseeing their training and choosing music for performance. While working in Leipzig, the composer repeatedly came into conflict with the city administration.The first six years of life in Leipzig were very productive: Bach composed up to 5 annual cycles of cantatas (two of them, in all likelihood, were lost). Most of these works were written in gospel texts, which 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 chants.
During execution Bach, apparently, sat at the harpsichord or stood in front of the choir on the lower gallery under the organ; wind instruments and timpani were located on the side gallery to the right of the organ, strings were located to the left. The City Council provided Bach only about 8 performers, and this often became the cause of disputes between the composer and the administration: Bahu I had to hire up to 20 musicians myself to perform orchestral works. The composer himself usually played the organ or harpsichord; if he led the choir, then this place was occupied by a full-time organist or one of the eldest sons Bach.
Soprano and alto Bach recruited from among the students, and tenors and basses - not only from school, but from all over Leipzig. In addition to regular concerts paid for by the city authorities, Bach with their choir, they earned money by performing at weddings and funerals. Presumably, at least 6 motets were written for these purposes. Part of his usual work in the church was the performance of motets by composers of the Venetian school, as well as some Germans, such as Schutz; while composing my motets Bach focused on the works of these composers.
Writing cantatas for most of the 1720s, Bach collected 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 College of Music (Collegium Musicum), a secular ensemble that had existed since 1701, when it was founded by an old friend Bach Georg Philip Telemann. At that time, in many large German cities, gifted and active university students created similar ensembles. Such associations played an ever greater role in public musical life; they were often led by renowned professional musicians. For most of the year, the College of Music held two-hour concerts twice a week at Zimmermann's coffee house, located near the market square. The owner of the coffee shop provided the musicians with a large hall and purchased several instruments. Many of the secular works Bach, dated between the 1730s and 1750s, were composed specifically for performance in Zimmermann's coffee shop. Such works include, for example, the Coffee Cantata and possibly the clavier pieces from the Clavier-Übung collections, as well as many concertos for cello and harpsichord.
During the same period Bach wrote parts of Kyrie and Gloria of the famous Mass in B minor, later adding the remaining parts, the melodies of which are almost entirely borrowed from the best cantatas of the composer. Soon Bach achieved appointment to the post of court composer; apparently, he had long sought this high post, which was a weighty argument in his disputes with the city authorities. Although the entire Mass was never performed in its entirety during the composer's lifetime, today it is considered by many to be one of the finest 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 away. 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".
Another major cycle, The Art of the Fugue, was not completed. Bach, despite the fact that it was written, most likely, long before his death (according to modern research - before 1741). During his lifetime, he 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 death Bach The Art of Fugue was published by his sons, along with the chorale prelude BWV 668, which is often erroneously called the last work. Bach- it actually exists in at least two versions and is a reworking of an earlier prelude to the same melody, BWV 641.
Over time, vision Bach it got worse. However, he continued to compose music, dictating it to his son-in-law Altnikkol. In 1750, the English ophthalmologist John Taylor, whom many modern researchers consider a charlatan, arrived in Leipzig. Taylor operated on twice Bach, but both operations were unsuccessful, 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 July 28; the cause of death may have been complications from 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.
Throughout life Bach wrote over 1000 works. In Leipzig Bach maintained friendly relations with university professors. Especially fruitful was the collaboration with the poet Christian Friedrich Heinrici, who wrote under the pseudonym Pikander. Johann Sebastian and Anna Magdalena often hosted friends, family members and musicians from all over Germany. Frequent guests were court musicians from Dresden, Berlin and other cities, including Telemann, the godfather of Carl Philipp Emmanuel. Interestingly, Georg Friedrich Handel, the same age Bach from Halle, which is 50 km from Leipzig, never met Bach, although Bach twice in his life he tried to meet him - in 1719 and 1729. The fates of these two composers, however, were brought together by John Taylor, who operated on both shortly before their deaths.
The composer was buried near the Church of St. John (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 Bach were accidentally found during construction work to expand 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. In 1950, which was named the year J. S. Bach, a bronze tombstone was installed over the place of his burial.
Bach studies
The first description of life and work Bach became a work published in 1802 Johann Forkel. Forkel's compiled biography Bach based on obituary and stories from sons and friends Bach. In the middle of the 19th century, the interest of the general public in music Bach grew, composers and researchers began to collect, study and publish all of his works. Honored Art Propagator Bach Robert Franz has published several books on the composer's work. The next major work on Bahe became the book of Philip Spitta, published in 1880. At the beginning of the 20th century, the German organist and researcher Albert Schweitzer published a book. In this work, in addition to the biography Bach, 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 20th century, when, with the help of new technical means and careful research, new facts about life and work were established. Bach, which in some places came into conflict with traditional ideas. Thus, for example, it was found that Bach wrote some cantatas in 1724-1725 (it was previously believed that this happened in the 1740s), unknown works have been found, and some previously attributed Bahu were not written by him. Some facts of his biography were established. In the second half of the 20th century, many works were written on this topic - for example, books by Christoph Wolf. There is also a work called the hoax of the 20th century, The Chronicle of the Life Johann Sebastian Bach compiled by his widow Anna Magdalena Bach”, written by the English writer Esther Meynel on behalf of the composer's widow.Creation
Bach wrote over 1000 pieces of music. Today, each of the famous works has been assigned a BWV number (short for Bach Werke Verzeichnis - catalog of works Bach). Bach wrote music for various instruments, both spiritual and secular. Some works Bach are adaptations of works by other composers, and some are revised versions of their own works.Organ creativity
Organ music in Germany by the time Bach but already had long-standing traditions established thanks to its predecessors Bach- Pachelbel, Boehm, Buxtehude and other composers, each of whom influenced him in his own way. With many of them Bach was personally acquainted.Throughout life Bach was best known as a first-class organist, teacher and composer of organ music. He worked both in the "free" genres traditional for 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 with which he became acquainted throughout his life. The composer was influenced both by the music of North German composers (Georg Böhm, with whom Bach met in Lüneburg, and Dietrich Buxtehude in Lübeck), and the music of southern composers: Bach rewrote for himself the works of many French and Italian composers in order to understand their musical language; later he even transcribed some of Vivaldi's 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 booklet - a collection of 46 short choral preludes, which demonstrated various techniques and approaches to composing works on choral themes. After leaving Weimar Bach began to write less for the organ; however, many famous works were written after Weimar (6 trio sonatas, the Clavier-Übung collection and 18 Leipzig chorales). All life Bach not only composed music for the organ, but also consulted in the construction of instruments, checking and tuning new organs.
Other clavier works
Bach He also wrote a number of works for harpsichord, many of which could also be played on the clavichord. Many of these creations are encyclopedic collections, demonstrating various techniques and methods for composing polyphonic works. Most clavier works Bach published during his lifetime were contained in collections called "Clavier-Übung" ("clavier exercises").The Well-Tempered Clavier, in two volumes, written in 1722 and 1744, is a collection containing 24 preludes and fugues in each volume, one for each key used. This cycle was very important in connection with the transition to instrument tuning systems that make it easy to play music in any key - first of all, to the modern equal temperament system.
15 two-voice and 15 three-voice inventions are small works, arranged in order of increasing number of characters in the key. They were intended (and are used to this day) for learning to play the 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, gigue and an optional part between the last two). In the English suites, the allemande is preceded by a prelude, and there is exactly one movement between the sarabande and the gigue; in the French suites, the number of optional movements increases, and there are no preludes. In partitas, the standard scheme is expanded: in addition to exquisite introductory parts, there are additional ones, and not only between the sarabande and the gigue.
Goldberg Variations (circa 1741) - a melody with 30 variations. The cycle has a rather complex and unusual structure. Variations are built more on the tonal plane of the theme than on the melody itself.
Varied pieces such as Overture in the French Style, BWV 831, Chromatic Fantasy and Fugue, BWV 903, or Concerto Italiano, BWV 971.
Orchestral and chamber music
Bach He wrote music both for individual instruments and for ensembles. His works for solo instruments - 3 sonatas and 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 works. Besides, Bach composed several works for lute solo. 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 "Art of the Fugue" and "Musical Offering".Bach wrote many works for orchestra and solo instruments. One of the most famous is the Brandenburg Concertos. They were so named because Bach, having sent them to Margrave Christian Ludwig of Brandenburg-Schwedt in 1721, he thought of getting a job at his court; this attempt was unsuccessful. These six concertos are written in the concerto grosso genre. Orchestral masterpieces Bach includes two violin concertos (BWV 1041 and 1042), a concerto for 2 violins in D minor BWV 1043, the so-called "triple" concerto in A minor (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 the orchestra are often performed on the piano, so they can be called piano concertos. Bach, but do not forget that during Bach there was no piano. In addition to concerts Bach composed 4 orchestral suites (BWV 1066-1069), some individual parts of which are especially popular nowadays and have popular arrangements, namely: the so-called "Bach's joke" - the last part, the badinerie of the second suite and the second part of the third suite - aria.
Vocal works
Cantatas.For a long period of my life every Sunday Bach in the church of St. Thomas led the performance of the cantata, the theme of which was chosen according to the Lutheran church calendar. Though Bach he also performed cantatas by other composers, in Leipzig he composed at least three complete annual cycles of cantatas, one for each Sunday of the year and each church holiday. In addition, he composed a number of cantatas in Weimar and Mühlhausen. Total Bach more than 300 cantatas were written on spiritual themes, of which only 200 have survived to this day (the last - in the form of a single fragment). Cantatas Bach 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 instruments. However, the most commonly used model is as follows: the cantata opens with a solemn choral introduction, then alternate recitatives and arias for soloists or duets, and ends with a chorale. As a recitative, the same words from the Bible are usually taken 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 parts, and is also sometimes included in the introductory part in the form of a cantus firmus. The most famous of the spiritual cantatas Bach are "Christ lag in Todesbanden" (number 4), "Ein' feste Burg" (number 80), "Wachet auf, ruft uns die Stimme" (number 140) and "Herz und Mund und Tat und Leben" (number 147) . Besides, Bach He also composed a number of secular cantatas, usually timed to coincide with some events, for example, a wedding. Among the most famous secular cantatas Bach- two Wedding Cantatas and a humorous Coffee Cantata and a Peasant Cantata.
Passions, or passions.
passion for John(1724) and Passion according to Matthew (c. 1727) - works for choir and orchestra on the gospel theme of the suffering of Christ, intended to be performed at Vespers on Good Friday in the churches of St. Thomas and St. Nicholas. Passions are one of the most ambitious vocal works Bach. It is known that Bach wrote 4 or 5 passions, 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 elaborate cantatas and are of a smaller scope than the Christmas Oratorio or Passions. 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 Bach- Mass in B minor (completed in 1749), which is a complete cycle of the ordinary. This mass, like many other works of the composer, included revised early compositions. The Mass was never performed in its entirety while alive Bach- for the first time it 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), and also because of the duration of the sound (about 2 hours). In addition to the mass in B minor, 4 short two-movement masses have come down to us Bach(Kyrie and Gloria), as well as parts like Sanctus and Kyrie.
The rest of Bach's vocal works include several motets, about 180 chorales, songs and arias.
Execution
Music performers today Bach divided into two camps: those who prefer authentic performance (or "historically oriented performance"), that is, using the tools and methods of the era Bach, and performing Bach on modern instruments. At times 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 passions, do not involve the performance of large groups. In addition, in some chamber works Bach instrumentation is not indicated at all, so today very different versions of the performance of the same works are known. In organ works Bach almost never indicated registration and change of manuals. From string keyboards Bach preferred the clavichord. He met Zilberman and discussed with him the structure of his new instrument, contributing to the creation of the modern piano. Music Bach for some instruments it was often rearranged for others, for example, Busoni arranged the organ toccata and fugue in D minor and some other works for the piano.To popularize music Bach in the 20th century, numerous "lightened" and "modernized" versions of his works contributed. Among them are today's well-known tunes performed by the Swingle Singers and Wendy Carlos' 1968 recording of "Switched-On Bach", which used a newly invented synthesizer. Processed the music Bach and jazz musicians such as Jacques Loussier. Joel Spiegelman handled the New Age Goldberg Variations. Among Russian contemporary performers, Fyodor Chistyakov tried to pay tribute to the great composer in his 1997 solo album “When Bach».
The fate of Bach's music
Contrary to popular myth, Bach after death was not forgotten. True, this concerned works for the clavier: his compositions were performed and published, used for didactic purposes.In the last years of life and after death Bach his fame as a composer began to decline: his style was considered old-fashioned compared to the burgeoning classicism.
He was more known and remembered as a performer, teacher and father Bakhov-younger ones, first of all Carl Philipp Emmanuel, whose music was more famous. However, many major composers, such as Mozart and Beethoven, knew and loved the work of Johann Sebastian.
Works continued to sound in the church Bach for the organ, harmonizations of chorales were in constant use.
Cantata-oratorio compositions Bach rarely sounded (although the notes were carefully preserved in the church of St. Thomas), as a rule, at the initiative of Carl Philip Emmanuel Bach, however, already in 1800, Karl Friedrich Zelter organized the Berlin Singing Academy (German) Russian. (Singakademie), the main purpose of which was precisely the promotion of Bach's singing heritage.
The performance of the 20-year-old Felix Mendelssohn-Bartholdy on March 11, 1829 in Berlin, acquired the performance of the Matthew Passion by Zelter's student, a great public outcry. 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 his birthday. Bach. "Passion according to Matthew" was also heard in other cities - in Frankfurt, Dresden, Koenigsberg. Creation Bach had a strong influence on the music of subsequent composers, including in the 21st century.
In Russia at the beginning of the 19th century, as connoisseurs and performers of music Bach Field's student Maria Shimanovskaya and Alexander Griboyedov stand out in particular. For example, when visiting the St. Thomas School, Mozart heard one of the motets (BWV 225) and exclaimed: "There is much to learn here!" - after which, asking for notes, he studied them for a long time and rapturously.
Beethoven really appreciated music Bach. As a child, he played the preludes and fugues from the Well-Tempered Clavier, and later called Bach“the true father of harmony” and said that “not the Stream, but the Sea is his name” (the word Bach in German means “stream”). Artworks Johann Sebastian influenced many composers. Some themes from the works Bach, for example, the theme of the toccata and fugue in D minor, were repeatedly used in the music of the 20th century.
Biography written in 1802 Johann Nikolaus Forkel, spurred the interest of the general public in his music. More and more people were discovering his music. For example, Goethe, who became acquainted with his works quite late in his life (in 1814 and 1815, some of his clavier and choral works were performed in the city of Bad Berka), in a letter of 1827 he compared the feeling of music Bach with "eternal harmony in dialogue with oneself." But the real renaissance of music Bach began with the performance of the St. Matthew Passion in 1829 in Berlin, organized by Felix Mendelssohn. 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." In subsequent years, Mendelssohn's work to popularize music continued. Bach and the rise of the composer's fame.
Founded in 1850 Bakhovskoe society, the purpose of which was the collection, study and distribution of works Bach. In the next half century, this society carried out significant work on compiling and publishing a corpus of the composer's works.
In the 20th century, awareness of the musical and pedagogical value of his compositions continued. Interest in music Bach spawned a new movement among performers: the idea of authentic performance became widespread. Such performers, for example, use the harpsichord instead of the modern piano and smaller choirs than was customary in the 19th and early 20th centuries, wanting to accurately recreate the music of the Bach era.
Some composers paid their respects Bahu, including the BACH motif (B-flat - la - do - si in Latin notation) in the themes of his works. For example, Liszt wrote a prelude and fugue on BACH, and Schumann wrote 6 fugues on the same theme. From the works of modern composers on the same theme, one can name “Variations on a Theme BACH” by Roman Ledenev. I used the same theme Bach, for example, in XIV counterpoint from The Art of Fugue.
Many composers took their cue from the works Bach or used themes from them. Examples are Beethoven's Variations on a Theme of Diabelli, inspired by the Goldberg Variations, Shostakovich's 24 Preludes and Fugues inspired by the Well-Tempered Clavier, and Brahms' Cello Sonata in D Major, whose finale includes musical quotations from Iskusstvo fugue."
The chorale prelude “Ich ruf’ zu Dir, Herr Jesu Christ” (BWV 177) performed by Leonid Roizman is featured in the film Solaris (1972).
Music Bach among the best creations of mankind recorded on the golden disc of Voyager.
Johann Sebastian Bach topped the top ten greatest composers of all time (New York Times).
Bach monuments in Germany
- Monument to J.S. Bach at the Church of St. Thomas in Leipzig.
- Monument in Leipzig, erected on April 23, 1843 by Hermann Knaur at the initiative of Felix Mendelssohn according to the drawings of Eduard Bendemann, Ernst Rietschel and Julius Hübner.
- Bronze statue on the Frauenplan in Eisenach, designed by Adolf von Donndorf, erected on September 28, 1884. First stood on the Market Square near the Church of St. George; On April 4, 1938, it was moved to Frauenplan with a shortened pedestal.
- Monument on Bach Square in Köthen, erected on March 21, 1885. Sculptor - Heinrich Polman
- Bronze statue by Carl Seffner from the south side of the St. Thomas Church in Leipzig - May 17, 1908.
- Bust by Fritz Behn in the Walhalla near Regensburg, 1916.
- Statue by Paul Birr at the entrance to St. George's Church in Eisenach, erected on April 6, 1939.
- Monument to arch. Bruno Eiermann in Weimar, first installed in 1950, then removed for two years and re-opened in 1995 on Democracy Square.
- Relief in Köthen (1952). Sculptor - Robert Propf.
- Monument near the Arnstadt market, erected on March 21, 1985. Author -Bernd Goebel
- Wooden stele by Ed Harrison on Johann Sebastian Bach Square in front of St. Blaise's Church in Mühlhausen - 17 August 2001.
- The monument in Ansbach, designed by Jurgen Görtz, was erected in July 2003.
