INSTRUMENTAL WORKS
For organ
Preludes and Fugues: C-dur, D-dur, e-moll, f-moll, g-moll, A-dur, d-moll, G-dur, a-moll, h-moll, C-dur, c- moll, C-dur, e-rnoll, c-minor, G-dur, a-moll, Es-dur.
Fantasies and fugues: g-moll, c-moll, a-moll.
Toccata with fugues: F-dur, E-dur, d-moll (Dorian), C-dur, d-moll.
Eight small preludes and fugues: C-dur, d-moll, e-moll, F-dur, G-dur, g-moll, a-moll, B-dur.
Preludes: C-dur, G-dur, A-moll.
Fugues: c-moll, c-moll, G-dur, G-dur, g-moll, h-moll (on a Corelli theme).
Fantasy: C-dur, G-dur, G-dur, h-moll, C-dur (unfinished).
Pastoral F-dur. Trio.
Passacaglia c-moll.
Concerts by Vivaldi (a-moll, C-dur, d-moll) and other authors. Konzertsatz C-dur.
Sonatas: Es-dur, c-moll, d-moll, e-moll, C-dur, G-dur.
Orgelbuchlein - 46 short chorale preludes.
Choral variations: “Christ, der du bist der helle Tag (“You are all like a bright, clear day”); "Oh Gott, du frommer Gott" ("Oh you sweetest"); “Sei gegriisset, jesu gutig” (“I send greetings to you, welcome”) and others.
Canonical variations of "Vom Himmel hoch, da Komm" ich her ("From the heights of heaven").
Six chorales ("Shubler's").
13 chorales (the so-called "big"; the last of them is the dying one: "Vor deinen Thron tret" ich ("At the Throne").
Choral arrangements "Preludes to the Catechism and Other Chants" (12 large and 9 small). Included in the III part of the "Klavieriibung".
Choral adaptations (mainly of the youthful period) that were not included in these collections.
24 choral arrangements (collection of Kirnberger).
For harpsichord
Little preludes (movements I, II) and fugues.
15 two-part inventions and 15 three-part symphonies.
"Das Wohltemperierte Klavier" ("The Well-Tempered Clavier")
I part 24 preludes and fugues. II part 24 preludes and fugues. Fantasies and fugues (fughettas): a-moll, d-moll, c-moll, B-dur, D-dur. Chromatic fantasy and fugue in d-moll. The Art of the Fugue (Die Kunst der Fuge).
Separate preludes and fugues.
Toccatas: fis-moll, c-moll, D-dur, d-moll, e-moll, g-moll, G-dur.
Fantasies: g-moll, c-moll, g-moll.
Fantasy-rondo c-moll.
Preludes (fantasies) c-moll, a-moll.
Suites: 6 French suites: d-moll, c-moll, h-moll, Es-dur, G-dur, E-dur.
6 English suites: A-dur, a-moll, g-moll, F-dur, e-moll, d-moll.
Klavierubung ("Clavier School"):
I part. Partitas: B-dur, c-moll, a-moll, D-dur, G-dur, e-moll.
II part. Italian Concerto and Partita (French Overture) h-moll.
III part. 21 Chorale prelude (also for organ), Prelude and triple fugue Es-dur, 4 duets: e-moll, F-dur, G-dur, a-moll.
IV part. Aria with 30 variations ("Goldberg Variations"). "Capriccio on the Departure of a Beloved Brother" B-dur. Capriccio in E-dur. (in honor of J.K. Bach). Aria variata alia maniera italiana (Aria varied in Italian
manner) a-moll. Minuets: G-dur, g-moll, G-dur (from the clavier book by Wilhelm Friedemann Bach). Sonatas. Scherzo d-moll (e-moll variant).
HARPIXOR TREATMENTS OF OWN WORKS
Sonata d-moll (arrangement of the 2nd violin sonata a-moll).
Suite E-dur (arrangement of the 3rd violin partita). Adagio G-dur (from the 3rd Violin Sonata).
ARRANGEMENTS FOR CLAVIERE OF WORKS BY OTHER AUTHORS
Sonata a-moll (from "Hortus musicus" - "Music Garden" by I. A. Rein-ken).
Sonata C-dur (from the same place).
Fugue B-dur (from the same place).
Fugue B-dur (arrangement of fugues by Erzelius).
16 concertos by Vivaldi, Marcello, Telemann, Johann Ernest of Weimar.
ORCHESTRAL COMPOSITIONS
Overtures (suites).
No. 1, C-dur; No. 2, h-moll; No. 3, D-dur; No. 4, D-dur; No. 5, g-moll. Symphony F-dur.
6 "Brandenburg" concertos: No. 1, F-dur; No. 2, F-dur; No. 3, G-dur;
No. 4, G-dur; No. 5, D-dur; No. 6, B-dur.
Concertos for harpsichord with orchestra accompaniment: No. 1, d-moll; No. 2, E-dur; No. 3, D-dur; No. 4, A-dur; No. 5, f-moll; No. 6, F-dur; N° 7, g-molL
Concertos for two harpsichords with orchestra accompaniment: No. 1, c-moll; No. 2, C-dur; No. 3, c-moll.
Concertos for three harpsichords with orchestra accompaniment: No. 1, d-moll; No. 2, C-dur.
Concertos for violin with orchestra accompaniment: No. 1, a-moll; No. 2, E-dur; No. 3, d-moll.
Concerto for two violins with d-moll accompaniment.
Triple concerto for harpsichord, flute and violin, accompanied by an a-moll orchestra.
Concerto for violin and orchestra in D-dur (excerpt).
CHAMBER WORKS FOR STRINGS, WIND INSTRUMENTS AND ENSEMBLES
Sonatas and partitas for violin solo: g-moll, h-moll, a-moll, d-moll, C-dur,
E-dur. Suites (sonatas) for cello: G-dur, d-moll, C-dur, Es-dur, c-moll,
D major.
Sonata for two violins with figures, bass C-dur. Four sonatas ("inventions") for violin and cembalo: g-moll, G-dur, F-dur, c-moll.
Trio for two violins and cembalo, d-moll. Sonatas for harpsichord and violin: h-moll, A-dur, E-dur, c-moll, f-moll, G-dur.
Suite for harpsichord and violin A-dur.
Sonatas for harpsichord and viola da gamba: G-dur, D-dur, g-moll. For lute (arranged for harpsichord): 3 partitas: g-moll, e-moll, c-moll. A small prelude in c-moll. Prelude, Fugue and Allegro Es-dur. Fugue in g-moll Flute sonatas: solo - a-moll; for flute with numbers, bass: C-dur,
e-moll, E-dur.
Sonata for flute and violin with numbers, G-dur bass. Sonata for two flutes with numbers, G-dur bass. Sonatas for harpsichord and flute: h-moll, Es-dur, A-dur. "Musical Offering".
SECULAR VOCAL-INSTRUMENTAL GENRES
"Musical dramas" ("Dramma per musica") and cantatas:
"Glide, effortlessly, waves" ("Schleicht, spielende Wellen").
"Discord defeated by changeable strings" ("Vereinigte Zwietrachb").
"Rise, Thundering Sounds!" ("Auf, schmetternde Tone!").
“Sound, timpani, and trumpets, blow!” ("Tonet, ihr Pauken, erschallet, Trompeten!").
"Cupid the Traitor" ("Amore traditore"). For bass.
"The Contest of Phoebus with Pan" ("Der Streit zwischen Phobus und Pan").
"On a life of contentment" ("Von der Vergnugsamkeit").
"Eol the Peaceful" ("Der zufriedengestellte Aeolus").
"The Choice of Hercules" ("Die Wahl des Herkules").
“We have a new boss” (“Meg hahn en neue Oberkeet”) - Peasant cantata.
“Crowned with the glory of the heavenly century” (“Mil Gnaden bekronet”).
“Not knowing the sorrows of life” (“Non sa che sia dolore”).
“Let us watch in worries” (“Lasst uns sorgen”).
"Oh wonderful song!" ("O angenehme Melodei").
“O wonderful day, desired age” (“O Tag holder, erwunschte Zeit”).
"Hail Saxony, blessed" ("Preise dein Glticke, gesegnetes
Saxen").
“Let the chatter be silent” (“Schweigt stille, plaudert nicht”) - Coffee cantata.
“In a rush, everything forward” (“Schwingt freudig euch empor!”).
“One hunt only invigorates me” (“Was mir behagt”).
"You disperse, shadows of grief!" ("Weichet nur, betrubte Schatten").
"Dig up the grave, destroy that crypt!" ("Zerreisset, zersprenget, zerstoret
die Gruft!").
"Highest Leopold" ("Durchlauchster Leopold").
SPIRITUAL WORKS
Masses: h-moll (High Mass); F-dur, A-dur, g-moll, G-dur (short).
"Magnificat" ("My soul magnifies"), D-dur.
"Sanctus, sanctus, sanctus" ("Holy, holy, holy"): C-dur, D-dur, d-moll,
G-dur, D-dur.
Passion according to Matthew, according to John, according to Luke, according to Mark. Oratorios: "Christmas" (in 6 parts); "Easter" ("Kommt, eilet und laufet" - "Hurry, oh people!"); "On the ascension" (cantata no. 11). Motets: "Singet dem Herrn ein neues Lied" ("Sing him a new song"), for 8 voices, B-dur. "Der Geist hilft unsrer Schwachheit auf" ("The high spirit will strengthen us"), for
8 voices, B-dur.
"Furchte dich nicht, ich bin bei dir" ("Don't be afraid, I'm with you!"), for 8 voices.
"Komm, Jesu, Komm!" "Come, Jesus!", for 8 voices. "Jesu, meine Freude" ("My Joy"), for 5 voices, e-moll. "Lobet den Herrri" ("Praise the Lord"), for 4 voices, C-dur. Spiritual cantatas (total 199).
185 chorales for four voices from the collection of C. F. E. Bach. Spiritual songs and arias from "Gesangbuch Schemellis" - "Book of Songs" by G. Schemelli (21) and from the 2nd "Notebook" (Notenbuch) by Anna Magdalene Bach (10).
Date of birth: March 21, 1685
Place of birth: Eisenach
Country: Germany
Date of death: July 28, 1750
Johann Sebastian Bach (German: Johann Sebastian Bach) is a German composer and organist, a representative of the Baroque era. One of the greatest composers in the history of music.
During his life, Bach wrote more than 1000 works. All significant genres of that time are represented in his work, except for opera; he summarized the achievements of the musical art of the Baroque period. Bach is a master of polyphony. After Bach's death, his music was not very popular, but it was rediscovered in the 19th century. His work had a strong influence on the music of subsequent composers, including in the 20th century. Bach's pedagogical works are still used for their intended purpose.
Johann Sebastian Bach was the sixth child of the musician Johann Ambrosius Bach and Elisabeth Lemmerhirt. The Bach family has been known for its musicality since the beginning of the 16th century: many of Johann Sebastian's ancestors were professional musicians. Bach's father lived and worked in Eisenach. 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. The boy was taken in by his elder brother Johann Christoph, who served as an organist in the neighboring Ohrdruf. Johann Sebastian entered the gymnasium, his brother taught him to play the organ and clavier. Johann Sebastian was very fond of music and did not miss the opportunity to study it or study new works.
While studying in Ohrdruf under the guidance of his brother, Bach became 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. Johann Sebastian observed how the organ was cared for, and possibly took part in it himself.
At the age of 15, Bach moved to Lüneburg, where in 1700-1703. studied at the singing 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 January 1703, after completing his studies, he received a position as court musician from the Duke of Weimar, Johann Ernst. 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 only 3 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, including the famous Toccata in D minor.
In 1706, Bach decides to change jobs. He was offered a more profitable and high position as organist in the church of St. Vlasia in Mühlhausen, a large city in the north of the country. On October 17, 1707, Johann Sebastian married his cousin Maria Barbara of Arnstadt. This marriage produced seven children, three of whom died in childhood. Two of the survivors, Wilhelm Friedemann and Carl Philipp Emmanuel, became famous 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 large expenditures, and for the publication of the festive cantata "The Lord is my king" (it was the only cantata printed during Bach's lifetime), written for the inauguration of the new consul, he was given a large reward.
After working in Mühlhausen for about a year, Bach changed jobs again, this time getting a job as a court organist and organizer of concerts in Weimar. Probably, the factors that forced him to change jobs were high salaries and a well-chosen composition of professional musicians.
In Weimar, a long period of composing clavier and orchestral works began, in which Bach's talent reached its peak. During this period, Bach absorbs musical influences from other countries. The works of the Italians Vivaldi and Corelli taught Bach how to write dramatic introductions, from which Bach learned the art of using dynamic rhythms and decisive harmonic schemes. Bach studied the works of Italian composers well, creating transcriptions of Vivaldi's concertos for organ or harpsichord.
In Weimar, Bach had the opportunity to play and compose organ works, as well as use the services of the ducal orchestra. In Weimar, Bach wrote most of his fugues (the largest and most famous collection of Bach's fugues is the Well-Tempered Clavier). While serving in Weimar, Bach began work on the Organ Notebook, a collection of pieces for Wilhelm Friedemann's teaching. This collection consists of adaptations of Lutheran chants.
By the end of his service in Weimar, Bach was already a well-known organist and harpsichord maker. After some time, Bach again went in search of a more suitable job. The Duke of Anhalt-Köthen hired Bach as Kapellmeister. The duke, himself a musician, appreciated Bach's talent, paid him well and provided him with great freedom of action. However, the duke was a Calvinist and did not welcome the use of sophisticated music in worship, so most of Bach's Köthen works 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.
On July 7, 1720, while Bach was abroad with the duke, a tragedy struck - his wife Maria Barbara died suddenly, leaving four young children. The following year, Bach met Anna Magdalena Wilke, a gifted young soprano who sang at the ducal court. They married on December 3, 1721. Despite the difference in age (she was 17 years younger than Johann Sebastian), their marriage, apparently, was happy. They had 13 children.
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 this church while simultaneously acting as a school teacher at the church, replacing Johann Kuhnau in this post. Bach's duties included teaching singing and holding weekly concerts in Leipzig's two main churches, St. Thomas and St. Nicholas.
The first six years of his life in Leipzig turned out to be very productive: Bach composed up to 5 annual cycles of cantatas. 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" and "Nun komm, der Heiden Heiland") are based on traditional church chants.
Writing cantatas for most of the 1720s, Bach amassed an extensive repertoire for performance in Leipzig's main churches. 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 Bach's old friend Georg Philipp Telemann. At that time, in many large German cities, gifted and active university students created similar ensembles. Such associations played an increasing role in the public musical life, they were often headed by well-known 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 Bach's secular works dating back to the 1730s, 40s, and 50s were composed specifically for performance in Zimmermann's coffee shop. Among such works are, for example, "Coffee Cantata" and a clavier collection, as well as many concertos for cello and harpsichord.
In the same period, Bach wrote the Kyrie and Gloria parts of the famous Mass in B minor, later adding the remaining parts, the melodies of which are almost entirely borrowed from the composer's best cantatas. Although the 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 there. Bach was a master of improvisation and immediately performed a three-voice fugue. Later, Johann Sebastian 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 has been called "The Musical Offering".
Another major cycle, The Art of the Fugue, was not completed by Bach. 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 the tools and techniques for writing polyphonic works.
Bach's last work was a chorale prelude for organ, which he dictated to his son-in-law, almost on his deathbed. The name of the prelude is "Vor deinen Thron tret ich hiermit" ("Here I stand before Your throne"), and this piece often ends the performance of the unfinished Art of Fugue.
Over time, Bach's vision became progressively worse. However, he continued to compose music, dictating it to his son-in-law Altnikkol. In 1750, Bach underwent two operations, both of which 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 on July 28, possibly due to complications from operations.
The composer was buried near the church of St. Thomas, where he served for 27 years. However, the grave was soon lost, and only in 1894 the remains of Bach were accidentally found during construction work, then the reburial took place.
Bach wrote over 1000 pieces of music. Today, each of the famous works is assigned a BWV number (short for Bach Werke Verzeichnis - a catalog of Bach's works). Bach wrote music for various instruments, both spiritual and secular.
During his 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, 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 by both the music of North German composers (Georg Böhm, Dietrich Buxtehude) and the music of southern composers. Bach copied the works of many French and Italian composers for himself in order to understand their musical language, and later he even transcribed several 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 and fugues and toccata and fugues, but also composed an unfinished "Organ Book" - a collection of 46 short choral preludes, in which various techniques and approaches to composing works on choral themes. After leaving Weimar, Bach began to write less for the organ, however, after Weimar, many famous works were written (6 trio sonatas, 18 Leipzig chorales). Throughout his life, Bach not only composed music for the organ, but also consulted in the construction of instruments, checking and tuning new organs.
Bach also wrote a number of works for harpsichord. Many of these creations are encyclopedic collections, demonstrating various techniques and methods for composing polyphonic works. Most of Bach's clavier works published during his lifetime were contained in collections called 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 made it possible to equally easily 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."
"Goldberg Variations" - 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 like "French Style Overture", "Chromatic Fantasy and Fugue", "Italian Concerto".
Bach wrote music both for individual instruments and for ensembles. His works for solo instruments - 6 sonatas and partitas for solo violin, 6 suites for cello, partita for solo flute - are considered by many to be among the composer's most profound creations. In addition, 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's most famous works for orchestra are the Brandenburg Concertos. Six concertos were written in the concerto grosso genre. Other surviving works by Bach for orchestra include two violin concertos, a concerto for 2 violins in D minor, concertos for one, two, three and even four harpsichords.
For a long period of his 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. Although Bach 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. In total, Bach wrote more than 300 cantatas on spiritual themes, of which only about 195 have survived to this day. Bach's cantatas vary greatly in form and instrumentation. Some of them are written for one voice, some for a choir; some require a large orchestra to perform, and some require only a few instruments. The most famous of Bach's spiritual cantatas are "Christ lag in Todesbanden", "Ein" feste Burg", "Wachet auf, ruft uns die Stimme" and "Herz und Mund und Tat und Leben". In addition, Bach also composed a number of secular cantatas, usually timed to coincide with some event, such as a wedding. Among the most famous secular cantatas of Bach are two "Wedding Cantatas" and a comic "Coffee Cantata".
"Passion according to John" (1724) and "Passion according to Matthew" (c. 1727) are 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 Bach's most ambitious vocal works. It is known that Bach wrote 4 or 5 passions, but only these two have completely survived to this day.
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).
Bach's most famous and significant Mass is the 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 during Bach's lifetime—the first time this happened was only in the 19th century. In addition, this music was not performed as intended due to the duration of the sound (about 2 hours). In addition to the Mass in B minor, 4 short two-movement masses by Bach have come down to us, as well as individual movements, such as "Sanctus" and "Kyrie".
The rest of Bach's vocal works include several motets, about 180 chorales, songs and arias.
Bach's music is among the best creations of mankind recorded on Voyager's golden disk.
They are divided into instrumental and vocal. The former include: for the organ - sonatas, preludes, fugues, fantasies and toccatas, chorale preludes; for piano - 15 inventions, 15 symphonies, French and English suites, "Klavierübung" in four parts (partitas, etc.), a number of toccatas and other works, as well as the "Well-Tempered Clavier" (48 preludes and fugues in all keys); "Musical Offering" (a collection of fugues on the themes of Frederick the Great) and the cycle "The Art of the Fugue". In addition, Bach has sonatas and partitas for violin (among them the famous Chaconne), for flute, cello (gamba) with piano accompaniment, concertos for piano and orchestra, as well as for two or more pianos, etc., concertos and suites for string and wind instruments, as well as suites for Bach's five-stringed viola pomposa (middle instrument between viola and cello).
Portrait of Johann Sebastian Bach. Artist E. G. Haussmann, 1748
All these writings are characterized by a highly skillful polyphony, not found in a similar form either before or after Bach. With amazing skill and perfection, Bach solves the most difficult problems of contrapuntal technique, both in large and small forms. But it would be a mistake to deny him at the same time melodic ingenuity and expressiveness. Counterpoint was for Bach not something memorized and applied with difficulty, but was his natural language and form of expression, the comprehension and understanding of which must be mastered earlier in order for the manifestations of a deep and versatile spiritual life expressed in this form to be fully understood and for the gigantic the mood of his organ works, as well as the melodic charm and richness of the changing moods in the fugues and piano suites, were quite appreciated. Therefore, in most of the works related to this, especially in individual numbers from the Well-Tempered Clavier, we have, along with completeness of form, characteristic pieces of extremely diverse content. It is this combination that determines their special and unique position in musical literature.
Despite all this, Bach's compositions for a long time after his death were known and appreciated only by a few connoisseurs, while the public almost forgot them. To share Mendelssohn it fell, thanks to the performance in 1829 under his direction of Bach's Passion according to (the Evangelist) Matthew, to arouse again the general interest in the late composer and win his great vocal works a proper place of honor in the musical life - and not only in Germany.
Johann Sebastian Bach. The best works
This includes, first of all, those intended for worship spiritual cantatas, written by Bach (for all Sundays and holidays) in the amount of five complete annual cycles. Preserved to us, quite reliable, only about 226 cantatas. The gospel texts served as their text. Cantatas consist of recitatives, arias, polyphonic choirs and a chorale that concludes the entire work.
This is followed by "music of passion" ( Passions), of which Bach wrote five. Of these, unfortunately, only two have come down to us: Passion for John and passion for Matthew; of these, the first was first performed in 1724, the second in 1729. The reliability of the third - Passion for Luke - is highly doubtful. Musically dramatic portrayal of the story of suffering Christ achieves in these works the highest completeness of forms, the greatest musical beauty and power of expression. In a form mixed with epic, dramatic and lyrical elements, the story of the suffering of Christ passes before our eyes plastically and convincingly. The epic element appears in the person of the reciting evangelist, the dramatic element in the interrupting speech of biblical persons, especially Jesus himself, as well as in the lively choirs of the people, the lyrical element in contemplative arias and choirs, and the chorale opposed to the whole presentation indicates the direct relationship of the work to worship and hints at community involvement.
Bach. Matthew Passion
A similar work, but in a lighter mood, is " Christmas oratorio"(Weihnachtsoratorium), written in 1734. It also came down to us" Easter Oratorio". Along with these large works associated with Protestant worship, the arrangements of ancient Latin church texts are at the same height and just as perfect: Masses and five-part Magnificat. Among them, the first place is occupied by Mass in B minor(1703). Just as Bach delved with faith into the words of the Bible, here he faithfully took up the ancient words of the text of the Mass and depicted them in sounds with such a richness and variety of feeling, with such power of expression that they are still now clothed in a strict polyphonic fabric, deeply gripping and deeply moving. The choirs in this work belong to the greatest that has ever been created in the field of church music. The demands placed on the choir here are extremely high.
(Biographies of other great musicians can be found in the “More on the topic…” section below the text of the article.)
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 position of organ superintendent 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.
for choir and voices with orchestra
Luke Passion (1712, authenticity disputed)Passion according to John (Johannespaesion, libretto by B. Brokes and J. S. Bach, 1722-23)
Matthew Passion (Matthauspassion, libretto by Picander, performed 1729, 2nd edition - 1736, 3rd - 1739, 4th - 1744)
Passion for Mark (Markuspassion, libretto by him, 1731, score lost)
Magnificat (Magnificat, 1723)
oratorios
Christmas Oratorio (Weihnachtsoratorium, 1734)Easter Oratorio (Oster-Oratorium, 1734-36)
Oratorio for the Ascension of Christ (Himmelfahrts-Oratorium)
masses
Mass in h minor (High Mass, 1733)4 short masses (F-dur, A-dur, g-moll, G-dur, circa 1737)
spiritual cantatas
199 cantatas survive, including:No. 71 - The Lord, He is My Heavenly King (Gott ist mein Konig, the so-called Election Cantata, 1708)
No. 4 - Christ lay in chains of death (Christ lag in Todesban-den. 1708)
No. 106 - Tragic Cantata (Actus Tragicus, 1711)
No. 12 - Tears, sighs, awe, grief (Weinen, Klagen, Sorgen, Zagen, 1714)
No. 21 - I have suffered a lot (Ich hatte viel Bekummernis, 1714)
No. 80 - The Lord is my stronghold (Ein "feste Burg ist unser Gott, 1730)
No. 27 - Who knows his last hour (Wer weiss, wie nahe mir mein Ende, 1730-1740)
No. 49 - I go and passionately seek (Ich geh "und suche mit Verlangen, 1730-1740)
No. 52 - False world, I don’t believe you (Falsche Welt, dir trau "ich nicht, 1730-1740)
No. 156 - I stand with one foot in the grave (Ich steh "mit einem Fuss im Grabe, 1730-1740)
No. 39 - Share your bread with the hungry (Brich mit dem Hungrigen dein Brot, 1732)
No. 36 - Ascend joyfully up (Schwingt treudig euch empor, 1732)
No. 1 - How brightly the morning star shines (Wie schon leuchtet der Morgenstern, 1735-1744)
secular cantatas
No. 208 - One hunt only invigorates me (Was mir behagt ist nur die muntre Jagd, Hunting cantata, words by S. Frank, 1716)No. 173-a - Serene Leopold (Durch-Iaucht "ster Leopold, 1717)
No. 205 - Pacified Eolus (Der zulriedengestellte Aeolus, 1725)
No. 207 - Discord defeated by changeable strings (Vereinigte Zwietracht der wechselnden Saiten, performed 11 XII 1726)
No. 36-a-Let desires ascend high (Steigt treudig in die Luft, executed 30 IX 1726)
No. 193-a - You, heavenly halls, you, shining luminaries (Ihr, Hauser des Himmels, ihr, scheinenden Lichter, Spanish 3 VIII 1727)
No. 202 - You retreat, sad shadows (Weichet nur, betrubte Schatten, wedding cantata, 1725, published 1727)
No. 205 - I amuse myself (cantata about a life of contentment, Ich bin in mir vergnugt, Kantate von der Vergnugsamkeit, performed before 1728)
No. 216 - The Blessed City on the Place (Vergnugte Pleissenstadt, performed 5 II 1728)
No. 201 - The Contest between Phoebus and Pan (Der Streit zwischen Phoebus und Pan, Picander's libretto based on a scene from Ovid's Metamorphoses, 1731)
No. 211 - Let the chatter stop (Schweigt stille, plaudert nicht. Coffee cantata, words Nos. 1-8 by Picander Nos. 9-10 J.S.B., performed 1732)
No. 206 - Glide, playful waves (Schleichet, spielende Wellen, 1733)
No. 213 - Hercules at the Crossroads (Hercules aut dem Scheideweg, performed 5 IX 1733)
No. 214 - Sound, timpani, and pipes, blow (Tonet, ihr, Pauken, erschallet, Trompeten, 1733)
No. 215 - Praise your happiness, blessed Saxony (Preise dein Glucke, geseg-netes Sachsen, words by I. Clauder, 1734)
No. 205-a - Make noise, enemies (Blast, Larmen, Ihr Feinde, performed 17 I 1734)
No. 207-a - Rise, merry trumpets thundering sounds (Auf, schmetternde Tone der muntern Trompeten, performed 3 VIII 1734)
No. 210- Oh wonderful day, desired age (Oh, Tag holder, erwunschte Zeit, circa 1734-1735)
No. 212 - We have a new boss (Meg hahn en neue Oberkeet, Peasant Cantata, words by Picander, 1742)
for orchestra
6 Brandenburg Concertos (1721)5 overture suites (circa 1721, 1729-30)
symphony (arrangement of the Brandenburg Concerto No. 1, circa 1730)
concertos for instruments and orchestra
for violin and orchestra (A minor, E major, circa 1721; g minor, D major excerpt; d minor, circa 1721)7 for harpsichord and orchestra (d-moll, E-dur, D-dur, A-dur, f-moll, F-dur, g-moll, between 1730 and 1733)
3 concertos for 2 harpsichords and orchestra (c minor, C major, between 1727 and 1730; c minor, circa 1730)
2 concertos for 3 harpsichords and orchestra (d-moll, C-dur, between 1730 and 1733)
concerto for 4 harpsichords and orchestra (a-moll, adaptation of A. Vivaldi's concerto for 4 violins and orchestra between 1730-1733)
concerto for flute, violin, harpsichord and orchestra (a-moll, the so-called triple concerto-Trippelkonzert, after 1730)
chamber ensembles
6 sonatas for harpsichord and violinsuite for harpsichord and violin
3 sonatas for harpsichord and viola da gamba (or cello)
3 sonatas for harpsichord and flute
4 sonatas ("inventions") for violin and cembalo
3 sonatas for flute with digital bass
trio sonatas:
for 2 violins with digital bassfor 2 violins and cembalo
for flute and violin with digital bass
for 2 flutes with digital bass
for organ
6 organ concertos (1717)18 preludes and fugues (1700-17, 1723-39)
3 fantasies and fugues (1700-08), 5 toccatas with fugues (1700-08)
3 preludes (1700-08)
8 little preludes and fugues (1708-17)
fugues (c-moll, G-dur, 1700-08; c-moll on a theme by G. Legrenzi, g-moll, h-moll on a theme by A. Corelli, 1708-09; c-moll, 1716)
fantasies (h-moll, C-dur, h-moll con imitazione, C-dur unfinished, 1700-1717)
passacaglia (1716-17)
pastoral (1703-07)
canzona (1709)
Allabreve (circa 1709)
pedal exercise (Pedal-Exercitium, 1700-03)
46 Choral Preludes (included in the Organ Book - Og-gelbuchlein, for Wilhelm Friedemann Bach, circa 1717)
6 chorales, the so-called Schübler chorales (between 1746-50)
18 chorales, the so-called Leipzig (the last - dying - I will appear before your throne - Vor deinen Thron trct "ich hiermit, 1747-50)
5 canonical variations on the theme "From the heights of heaven" ("Vom Himmel hoch da komm ich her", 1746-47)
7 chorale variations on the theme "Christ, you are like a bright day" ("Christ, der du bist der helle Tag", circa 1700)
9 chorale variations on "Oh God, you are a holy god" ("Oh Gott, du frommer Gott", circa 1700)
11 chorale variations on the theme "Hail to you, dear Jesus" ("Sei gegrusset, Jesu gutig", circa 1700 and later)
17 Variations on "Praise to the One God in Heaven" ("Allein Gott in der Hoh" sei Ehr"", circa 1705)
for harpsichord
20 little preludes (1717-23)4 preludes and fughettas (1700-08)
3 preludes and fugues (1700-08, 1717-23, after 1723)
6 Preludes for Beginners (1717-23)
2 fantasy preludes (1700-08)
15 two-part inventions
15 three-part symphonies-inventions (1700-23)
Capriccio in honor of Johann Christoph Bach (circa 1704)
Capriccio for the departure of a beloved brother (Capriccio sopra la lontananza del suo fratello dilettissimo, 1704)
fughetta c-moll (1700-08)
2 fantasies and fugues (1717-23, after 1723)
fantasy with unfinished fugue in C major (c. 1708)
2 fantasies (1700-17)
fantasy-rondo c-moll (1700-08)
fantasy-prelude (a-moll, 1708-17)
Chromatic fantasy and fugue (a-moll, 1720-23)
8 fugues (1700-17)
2 fugues on a theme by Albinoni (1708-17)
7 toccata (1700-07, 1720)
2 sonatas (1700-09)
aria with variations in the Italian manner (Aria variata alla maniera italiana, a-moll, circa 1709)
suite (g-moll, 1700-03)
3 suites (1708-17)
suite f-moll (unfinished, 1717-23)
6 French suites (the first 5 suites were included in the 1st music book of Anna Magdalena Bach, 1722)
6 English suites (1720-22)
Adagio (circa 1720)
The Well-Tempered Clavier (1st movement, 24 preludes and fugues, 1722; 2nd movement, 24 preludes and fugues, 1744)
6 Partitas (1726-30), Italian Concerto in F-dur (French Overture, 1735)
Aria with 30 Variations (Goldberg Variations, 1742)
2 music notebooks of Anna Magdalena Bach (Notenbuchlein fur Anna Magdalena Bach, 1st notebook, 1722, 2nd notebook, 1725)
Keyboard book (Klavierbuchlein) by Wilhelm Friedemann Bach (1720-23)
The Art of the Fugue (1749-50)
