2 works by Bach. Bach's most famous work (organ sounds)

They are divided into instrumental and vocal. The first include: for organ - sonatas, preludes, fugues, fantasies and toccatas, chorale preludes; for piano – 15 inventions, 15 symphonies, French and English suites, “Klavierübung” in four movements (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 themes of Frederick the Great) and the cycle “The Art of 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., concerts and suites for strings and wind instruments, as well as a suite for the five-string viola pomposa invented by Bach ( medium instrument between viola and cello).

Portrait of Johann Sebastian Bach. Artist E. G. Haussmann, 1748

All these works 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 complex problems of contrapuntal technique, both in large and small forms. But it would be a mistake to deny his melodic ingenuity and expressiveness at the same time. Counterpoint was not something memorized and difficult to apply for Bach, but was his natural language and form of expression, the comprehension and understanding of which must first be acquired in order for the manifestations of deep and versatile spiritual life expressed in this form to be fully understood and so that the gigantic his mood organ works, as well as the melodic charm and richness of changing moods in the fugues and piano suites were fully appreciated. Therefore, in most of the works related here, especially in individual numbers from the “Well-Tempered Clavier,” we have, along with completeness of form, characteristic plays of extremely varied content. It is this connection that determines their special and unique position in musical literature.

Despite all this, for a long time after his death, Bach’s works were known and appreciated only by a few experts, while the public almost forgot them. Per share Mendelssohn It fell, thanks to the performance in 1829 under his baton of Bach's St. Matthew Passion, to once again arouse general interest in the late composer and to win his great vocal works their rightful place of honor in musical life - and not only in Germany.

Johann Sebastian Bach. 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. Only about 226 cantatas have survived to us, quite reliable. The Gospel texts served as their text. The cantatas consist of recitatives, arias, polyphonic choruses and a chorale that concludes the entire work.

Next comes “music of passions” ( Passions), of which Bach wrote five. Of these, unfortunately, only two have reached us: Passion by John and Passion by Matthew; of these, the first was first performed in 1724, the second in 1729. The reliability of the third - the Passion according to Luke - is subject to great doubt. Musically dramatic portrayal of a story of suffering Christ in these works he achieves the highest completeness of form, the greatest musical beauty and power of expression. In a form mixed from 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 appears in the words of biblical figures, especially Jesus himself, interrupting the speech, as well as in the lively choirs of the people, the lyrical element appears in arias and choruses of a contemplative nature, and the chorale, contrasted with the whole presentation, indicates the direct relationship of the work to the divine service and hints at the community's participation in it.

Bach. St. Matthew Passion

A similar work, but of a lighter mood, is “ Christmas Oratorio"(Weihnachtsoratorium), written in 1734. It has also reached us" Easter Oratorio" Along with these large works associated with Protestant worship, adaptations of ancient Latin church texts are at the same height and just as perfect: Masses and five-voice Magnificat. Among them, the first place is taken by large Mass in B minor(1703). Just as Bach delved with faith into the words of the Bible, here he took up with faith the ancient words of the text of the Mass and depicted them in sounds with such richness and variety of feeling, with such power of expression that even now, clothed in a strict polyphonic fabric, they deeply captivating and deeply moving. The choirs in this work are among 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 - see the block “More on the topic...” below the text of the article.)

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) was a German composer and organist, a representative of the Baroque era. One of greatest composers in the history of music.

During his life, Bach wrote more than 1000 works. His work represents all the significant genres of that time, except opera; he summarized the achievements of musical art of the Baroque period. Bach is a master of polyphony. After Bach's death, his music was little popular, but in the 19th century it was rediscovered. 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 in the family of 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. Johannes Ambrosius's work 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 older brother Johann Christoph, who served as an organist in nearby Ohrdruf. Johann Sebastian entered the gymnasium, his brother taught him to play the organ and clavier. Johann Sebastian loved music very much and never missed an opportunity to practice 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 may have taken part in it himself.

At the age of 15, Bach moved to Lüneburg, where in 1700-1703. studied at the singing school of St. Mikhail. During his studies, he visited Hamburg, the largest city in Germany, as well as Celle (where French music) and Lubeck, where he had the opportunity to get acquainted with the creativity famous musicians of its time. Bach's first works for organ and clavier date back to the same years.

In January 1703, after completing his studies, he received the position of court musician for the Weimar Duke Johann Ernst. During his seven months of service in Weimar, his fame as a performer spread. Bach was invited to the position of organ caretaker at the Church of St. Boniface in Arnstadt, located 180 km from Weimar. The Bach family had long-standing ties to 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 new system, expanding the capabilities of the composer and performer. During this period, Bach created many organ works, including the famous Toccata in D minor.

In 1706, Bach decided to change his place of work. He was offered a more profitable and high position as an organist in the Church of St. Blasius in Mühlhausen, big city In the north of the country. On October 17, 1707, Johann Sebastian married his cousin Maria Barbara from 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 without hesitation approved his plan for the restoration of the church organ, which required large expenses, and for the publication of the festive cantata “The Lord is my King” (this 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 becoming a court organist and concert organizer in Weimar. Probably, the factors that forced him to change jobs were the high salary and a well-selected line-up of professional musicians.

In Weimar, a long period of composing keyboard and orchestral works began, in which Bach's talent reached its peak. During this period, Bach absorbed musical trends 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 patterns. Bach studied the works of Italian composers well, creating transcriptions of Vivaldi 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 the teaching of Wilhelm Friedemann. This collection consists of arrangements of Lutheran chorales.

By the end of his service in Weimar, Bach was already a well-known organist and harpsichordist. After some time, Bach again went in search of more suitable work. The Duke of Anhalt-Köthen hired Bach as conductor. The Duke, himself a musician, appreciated Bach's talent, paid him well and provided more freedom actions. However, the Duke was a Calvinist and did not encourage the use of refined 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 also written during this period.

On July 7, 1720, while Bach was abroad with the Duke, a tragedy occurred - his wife Maria Barbara suddenly died, leaving four young children. The following year, Bach met Anna Magdalena Wilke, a young gifted soprano singer who sang at the ducal court. They married on December 3, 1721. Despite the age difference (she was 17 years younger than Johann Sebastian), their marriage was apparently a happy one. They had 13 children.

In 1723, his “Passion according to John” was performed in the Church of St. Thomas in Leipzig, and on June 1, Bach received the position of cantor of this church while simultaneously fulfilling the duties of a school teacher at the church, replacing Johann Kuhnau in this post. Bach's duties included teaching singing and conducting 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 on 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 the main churches of Leipzig. Over time, he wanted to compose and perform more secular music. In March 1729, Johann Sebastian became the head of the Collegium Musicum, a secular ensemble that had existed since 1701, when it was founded by 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 increasingly important role in public musical life, and were often led by famous professional musicians. For most of the year, the College of Music held two-hour concerts twice a week at Zimmerman'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 from the 1730s, 40s and 50s, were composed specifically for performance at Zimmermann's coffee house. Such works include, for example, the “Coffee Cantata” and the keyboard collection, as well as many concertos for cello and harpsichord.

During the same period, Bach wrote the Kyrie and Gloria parts of the famous Mass in B minor, later completing the remaining parts, the melodies of which were almost entirely borrowed from the composer’s best cantatas. Although the entire mass was never performed during the composer's lifetime, it is today considered by many to be one of the best choral works of all time.

In 1747, Bach visited the court of the Prussian king Frederick II, where the king offered him musical theme and asked me to immediately compose something for it. Bach was a master of improvisation and immediately performed a three-part 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 a theme dictated by Frederick. This cycle was called the "Musical Offering".

Another major cycle, “The Art of Fugue,” was not completed by Bach. During his lifetime he was never published. The cycle consists of 18 complex fugues and canons based on one simple theme. In this cycle, Bach used all 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 while practically on his deathbed. The title of the prelude is “Vor deinen Thron tret ich hiermit” (“Here I appear before Your throne”), and this work often ends the performance of the unfinished “The Art of Fugue.”

Over time, Bach's vision became worse and worse. Nevertheless, he continued to compose music, dictating it to his son-in-law Altnikkol. In 1750, Bach underwent two operations, but both of them were unsuccessful. Bach remained blind. On July 18, he unexpectedly regained his sight for a short time, but in the evening he suffered a stroke. Bach died on July 28, possibly due to complications from surgery.

The composer was buried near the Church of St. Thomas, where he served for 27 years. However, the grave soon became lost, and only in 1894 were Bach’s remains accidentally found during construction work, and then the reburial took place.

Bach wrote more than 1000 pieces of music. Today, each of the famous works is assigned a BWV number (short for Bach Werke Verzeichnis - catalog of Bach's works). Bach wrote music for various instruments, both sacred 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 features of different musical styles, with whom he became acquainted throughout his life. The composer was influenced by both the music of Northern 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 them musical language, later he even arranged several Vivaldi violin concertos for organ. During the most fruitful period for organ music (1708-1714), Johann Sebastian not only wrote many pairs of preludes and fugues and toccatas and fugues, but also composed the unfinished "Organ Book" - 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 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 on the construction of instruments, testing and tuning new organs.

Bach also wrote a number of works for the harpsichord. Many of these creations are encyclopedic collections demonstrating various techniques and methods for composing polyphonic works. Most of Bach's keyboard 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, each volume of which contains 24 preludes and fugues, one for each common key. This cycle was very important in connection with the transition to instrument tuning systems that make it equally easy to perform music in any key - primarily to the modern equal temperament system.
15 two-voice and 15 three-voice inventions - small works, arranged in order of increasing number of characters in the key. Intended (and are still used to this day) for teaching playing keyboards.
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. The variations are built more on the tonal plan of the theme than on the melody itself.
Various pieces such as “Overture in the French Style”, “Chromatic Fantasia and Fugue”, “Italian Concerto”.

Bach wrote music for both individual instruments and 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 most profound works of the composer. In addition, Bach composed several works for solo lute. He also wrote trio sonatas, sonatas for solo flute and viola da gamba, accompanied only by a general bass, as well as a large number of canons and ricercars, mostly without specifying the instruments for performance. Most significant examples such works are the cycles “The Art of Fugue” and “Musical Offering”.

Bach's most famous works for orchestra are the Brandenburg Concertos. Six concertos are written in the genre of concerto grosso. Other extant 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 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 choir; some require a large orchestra to perform, while others 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, for example, a wedding. Among Bach's most famous secular cantatas are two “Wedding Cantatas” and the humorous “Coffee Cantata.”

“The Passion According to John” (1724) and “The Passion According to Matthew” (c. 1727) are works for choir and orchestra on the gospel theme of the suffering of Christ, intended for performance at vespers on Good Friday in the churches of St. Thomas and St. Nicholas. The 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 survived completely to this day.

The most famous is the "Christmas Oratorio" (1734) - a cycle of 6 cantatas for performance during the Christmas period of the liturgical year. The Easter Oratorio (1734-1736) and the Magnificat are rather extensive and elaborate cantatas and have 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 more famous (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 of the composer’s other works, included revised early works. The Mass was never performed in its entirety during Bach's lifetime - the first time this happened 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 reached us, as well as individual movements such as “Sanctus” and “Kyrie”.

Bach's remaining vocal works include several motets, about 180 chorales, songs and arias.

Bach's music, among the best creations of mankind, was recorded on the Voyager gold disc.

Vocal and instrumental works: about 300 sacred cantatas (199 preserved); 24 secular cantatas (including “Hunting”, “Coffee”, “Peasant”); motets, chorales; Christmas Oratorio; “John Passion”, “Matthew Passion”, “Magnificat”, Mass in B minor (“High Mass”), 4 short masses.

Arias and songs - from the second Notebook of Anna Magdalena Bach.

For orchestra and orchestra with solo instruments:

6 Brandenburg Concertos; 4 suites (“overtures”); 7 concertos for harpsichord (clavier) and orchestra; 3 concertos for two harpsichords and orchestra; 2 concertos for three harpsichords and orchestra; 1 concert for four harpsichords and orchestra; 3 concertos for violin and orchestra; concert for flute, violin and harpsichord.

Works for violin, cello, flute with clavier (harpsichord) and solo: 6 sonatas for violin and harpsichord; 6 sonatas for flute and harpsichord; 3 sonatas for viola da gamba (cello) and harpsichord; trio sonatas; 6 sonatas and partitas for solo violin; 6 suites (sonatas) for solo cello.

For clavier (harpsichord): 6 “English” suites; 6 “French” suites; 6 parts; Chromatic fantasy and fugue; Italian concert; Well-Tempered Clavier (2 volumes, 48 ​​preludes and fugues); Goldberg Variations; Inventions for two and three voices; fantasies, fugues, toccatas, overtures, capriccios, etc.

For organ: 18 preludes and fugues; 5 toccatas and fugues; 3 fantasies and fugues; fugues; 6 concerts; Passacaglia; pastoral; fantasies, sonatas, canzones, trios; 46 chorale preludes (from Wilhelm Friedemann Bach's Organ Book); "Schubler chorales"; 18 chorales (“Leipzig”); several cycles of chorale variations.

Musical offering. The art of fugue.

MAIN LIFE DATES

1685, March 21 (Gregorian calendar March 31) Johann Sebastian Bach, the son of the city musician Johann Ambrose Bach, was born in the Thuringian city of Eisenach.

1693-1695 – Studying at school.

1694 – Death of mother, Elisabeth, née Lemmerhirt. Father's remarriage.

1695 – Death of father; moving to his elder brother Johann Christoph in Ohrdruf.

1696 – early 1700– Studying at the Ohrdruf Lyceum; singing and music lessons.

1700, March 15– Moving to Lüneburg, enrollment as a scholarship student (chanter) at the school of St. Michael.

1703, April– Moving to Weimar, service in the chapel of the Red Castle. August– Moving to Arnstadt; Bach is an organist and singing teacher.

1705-1706, October – February– A trip to Lubeck, studying the organ art of Dietrich Buxtehude. Conflict with the consistory of Arnstadt.

1707, June 15– Confirmation as organist in Mühlhausen. 17 October– Marriage to Maria Barbara Bach.

1708, spring– Publication of the first work, “Elective Cantata”. July– Moving to Weimar to serve as court organist of the Ducal Chapel.

1710, November 22– Birth of the first son, Wilhelm Friedemann (the future “Gallic Bach”).

1714, March 8– Birth of the second son, Carl Philipp Emmanuel (the future “Hamburg Bach”). Trip to Kassel.

1717, July– Bach accepts the offer of Prince Leopold of Köthen to become conductor of the court chapel.

September– A trip to Dresden, his success as a virtuoso.

October– Return to Weimar; resignation letter, by order of the Duke, arrest from November 6 to December 2. Transfer to Keteya. Trip to Leipzig.

1720, May– A trip with Prince Leopold to Carlsbad. Early July– Death of wife Maria Barbara.

1723, February 7– Performance of cantata No. 22 in Leipzig as a test for the position of cantor of the Thomaskirche. 26 March– First performance of the “St. John Passion.” May– Taking office as cantor of St. Thomas and the school teacher.

1729, February– Performing the “Hunting Cantata” in Weissenfels, receiving the title of court Kapellmeister of Saxe-Weissenfels. April 15– First performance of the St. Matthew Passion in the Thomaskirche. Disagreements with the Thomasshule council and then with the magistrate over school practices. Bach leads the Telemann student circle, Collegium musicum.

1730, October 28– A letter to a former school friend G. Erdmann describing the unbearable circumstances of life in Leipzig.

1732 – Performance of “Coffee Cantata”. 21st of June– Birth of son Johann Christoph Friedrich (future “Bückeburg Bach”).

1734, end of December– Performance of the “Christmas Oratorio”.

1735, June– Bach with his son Gottfried Bernhard in Mühlhausen. The son passes the test for the position of organist. September 5 was born last son Johann Christian (future "London Bach").

1736 – The beginning of a two-year “struggle for the prefect” with the rector Tomashule I. Ernesti. November 19 A decree was signed in Dresden conferring the title of royal court composer on Bach. Friendship with the Russian ambassador G. Keyserling. December 1– A two-hour concert in Dresden on the Silbermann organ.

1738, April 28– “Night Music” in Leipzig. Bach completes the composition of the High Mass.

1740 – Bach ceases to direct the “Musical Collegium”.

1741 – In the summer, Bach is visiting his son Emmanuel in Berlin. Trip to Dresden.

1742 – Publication of the last, fourth volume of “Exercises for the Clavier.” August 30– Performance of “Peasant Cantata”.

1745 – Testing of a new organ in Dresden.

1746 – Son Wilhelm Friedemann becomes director of urban music in Halle. Bach's trip to Zshortau and Naumberg.

1749, January 20– Engagement of daughter Elisabeth to Bach’s student Altnikol. The beginning of the essay "The Art of Fugue". In summer- Illness, blindness. Johann Friedirch enters the Bückeburg Chapel.

1750, January– Unsuccessful eye surgeries, complete blindness. Composition of counterpoints of “The Art of Fugue” and fugue on the theme B-A-C-N. Completion of processing of chorales.

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The numbers in brackets everywhere indicate the number of this work according to the book “BWV”: W. Schmieder. Thematisch-sistematische Verzeichnis der Werke lohann Sebastian Bachs. Liepzig, 1971.

Translation by Ksenia Stebneva.

Translated by Ya. S. Druskin.

Some biographers date Bach's trip to Dresden to the autumn of 1714. We stick to the generally accepted date: September 1717. In 1714, Friedemann was only four years old; it is unlikely that he could have been taken by his father to Dresden.

See art. B. Kuznetsov “Einstein and Mozart”. “Soviet Music”, 1971, 12, p. 38.

Quote from the book: Hammerschlag. If Bach kept a diary, p. 43.

Translation by Ksenia Stebneva.

Emphasized by us. CM.

A. V. Lunacharsky. In the world of music. Articles and speeches. Ed. 2. M., " Soviet composer", 1971, p. 312, 314.

V. D. Konen, Bach. "Musical Encyclopedia", vol. 1. M., "Soviet Encyclopedia", 1973, p. 357.

Riemann was mistaken: not six, but five sons outlived their father.

The author of the story does not always give the exact age at which Bach’s children died. Now, based on documentary evidence, the dates of birth and death of the children have been clarified: Christiana Sophia (29.VI.1723-1.VII.1726); Christian Gottlieb (14.IV.1720-21.IX1728); Ernst Andreas (30.X.-1.XI.1727); Regina Johanna (10.H.1728-25.IV.1733); Christian Benedict (1.I.-4.I.1730); Christiana Dorothea (18.III.1731-31.VIII.1732); Johann August (5.XI.-6.XI.1733).

The report in Mitzler's journal mentions, in addition to Bach, another conductor of the collegium - Johann Gottlieb Gerner; he now served as organist at St. Thomas.

G. Chicherin" Mozart. M., "Music", 1970, p. 181.

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-moll, G-dur, a-moll, Es-dur.
Fantasies and fugues: g-moll, c-moll, a-moll.
Toccatas 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 major, G major, A minor.
Fugues: c-moll, c-moll, G-dur, G-dur, g-moll, h-moll (on a Corelli theme).
Fantasies: C-dur, G-dur, G-dur, h-moll, C-dur (unfinished).
Pastoral F major. Trio.
Passacaglia in C minor.
Concertos by Vivaldi (a minor, C major, d minor) and other authors. Konzertsatz C-dur.
Sonatas: Es-dur, c-moll, d-moll, e-moll, C-dur, G-dur.
Orgelbuchlein - 46 short chorale preludes.
Chorale variations: “Christ, der du bist der helle Tag (“You are all like a bright, clear day”); “O Gott, du frommer Gott” (“O you, sweetest one”); “Sei gegriisset, jesu gutig” (“I send greetings to you, my beloved one”) and others.
Canonical variations “Vom Himmel hoch, da Komm" ich her (“From the heights of heaven”).
Six chorales (“Schubler’s”).
13 chorales (the so-called “large”; the last of them is the dying one: “Vor deinen Thron tret"ich (“At the throne”).
Chorale arrangements “Preludes to the Catechism and other chants” (12 large and 9 small). Included in Part III of the Klavieriibung.
Chorale arrangements (mainly from the youth period), not included in these collections.
24 chorale arrangements (Kirnberger collection).

For harpsichord

Small preludes (parts I, II) and fugues.
15 two-voice inventions and 15 three-voice symphonies.
"Das Wohltemperierte Klavier" ("The Well-Tempered Clavier")
I part 24 preludes and fugues. Part II 24 preludes and fugues. Fantasies and fugues (fuguettes): a-moll, d-moll, c-moll, B-dur, D-dur. Chromatic fantasy and fugue in d minor. The Art of 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.
Fantasia Rondo in C minor.
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 ("Klavier School"):
Part I. Partitas: B-dur, c-moll, a-moll, D-dur, G-dur, e-moll.
Part II. Italian Concerto and Partita (French Overture) B minor.
Part III. 21 Choral Prelude (also for organ), Prelude and triple fugue Es-dur, 4 duets: e-moll, F-dur, G-dur, a-moll.
Part IV. Aria with 30 variations (“Goldberg Variations”). “Capriccio on the Departure of a Beloved Brother” B major. Capriccio E major. (in honor of J. C. Bach). Aria variata alia maniera italiana (Aria varied in Italian
manner) a-minor. Minuets: G-dur, G-moll, G-dur (from the keyboard book of Wilhelm Friedemann Bach). Sonatas. Scherzo d-moll (variant e-moll).

HARVISIOR ARRANGEMENTS OF OWN WORKS

Sonata in d minor (arrangement of the 2nd violin sonata in a minor).

Suite in E major (arrangement of the 3rd violin partita). Adagio G major (from the 3rd violin sonata).

TREATMENTS FOR THE CLAVIER OF WORKS BY OTHER AUTHORS

Sonata in a minor (from “Hortus musicus” - “ Musical Garden"I. A. Reinken).
Sonata in C major (from the same place).
Fugue B-dur (from the same place).
Fugue B major (arrangement of fugues by Erzelius).
16 concerts by Vivaldi, Marcello, Telemann, Johann Ernest of Weimar.

ORCHESTRA WORKS

Overtures (suites).
No. 1, C major; No. 2, h-moll; No. 3, D major; No. 4, D major; No. 5, g-moll. Symphony in F major.

6 “Brandenburg” concerts: No. 1, F-dur; No. 2, F major; No. 3, G major;
No. 4, G major; No. 5, D major; No. 6, B major.

Concertos for harpsichord with orchestral accompaniment: No. 1, d-moll; No. 2, E-dur; No. 3, D major; No. 4, A major; No. 5, f-moll; No. 6, F-dur; N° 7, g-molL

Concertos for two harpsichords with orchestral accompaniment: No. 1, c-moll; No. 2, C major; No. 3, c-moll.
Concertos for three harpsichords with orchestral accompaniment: No. 1, d-moll; No. 2, C major.
Concertos for violin with orchestra accompaniment: No. 1, a-moll; No. 2, E-dur; No. 3, d-moll.
Concerto for two violins with orchestral accompaniment in d minor.
Triple concert for harpsichord, flute and violin with orchestral accompaniment in A-moll.
Concerto for violin and orchestra in D major (excerpt).

CHAMBER WORKS FOR STRINGS, WIND INSTRUMENTS AND ENSEMBLES

Sonatas and partitas for solo violin: 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 numbers, bass C major. Four sonatas (“inventions”) for violin and cymbal: g-moll, G-dur, F-dur, c-moll.
Trio for two violins and cymbal, d minor. Sonatas for harpsichord and violin: H-moll, A-dur, E-dur, C-moll, F-moll, G-dur.
Suite for harpsichord and violin A major.
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 little prelude in C minor. Prelude, Fugue and Allegro Es major. Fugue g-moll Sonatas for flute: solo - a-moll; for flute with numbers, bass: C-dur,
e-moll, E-dur.
Sonata for flute and violin with numbers, bass G-dur. Sonata for two flutes with numbers, bass G-dur. Sonatas for harpsichord and flute: H-moll, Es-dur, A-dur. "Musical Offering"

SECULAR VOCAL AND INSTRUMENTAL GENRES

“Musical dramas” (“Dramma per musica”) and cantatas:

“Glide, playfully, the waves” (“Schleicht, spielende Wellen”).

“Discord defeated by changeable strings” (“Vereinigte Zwietrachb”).

“Arise, 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”).
“About a life of contentment” (“Von der Vergnugsamkeit”).
“Aeolus 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.
“Crowded 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 our cares” (“Lasst uns sorgen”).
“Oh wonderful song!” (“O angenehme Melodei”).
“Oh wonderful day, desired age” (“O holder Tag, erwunschte Zeit”).
“Hail, Saxony, blessed” (“Preise dein Glticke, gesegnetes
Sachsen").

“Let the chatter be silent” (“Schweigt stille, plaudert nicht”) - Coffee cantata.

“Everything is forward in a rush” (“Schwingt freudig euch empor!”).

“Hunting alone invigorates me” (“Was mir behagt”).

“Scatter you, shadows of grief!” (“Weichet nur, betrubte Schatten”).

“Dig up the grave, destroy that crypt!” (“Zerreisset, zersprenget, zerstoret
die Gruft!").

“Most Serene Leopold” (“Durchlauchster Leopold”).

SPIRITUAL WORKS

Masses: h-moll (High Mass); F-dur, A-dur, g-moll, G-dur (short).
“Magnificat” (“Magnifies my soul”), 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” (“ New song sing to him"), for 8 voices, B-dur. “Der Geist hilft unsrer Schwachheit auf” (“The high spirit will strengthen us”), for
8 voices, B major.
“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 major. Spiritual cantatas (199 in total).
185 chorales for four voices from the collection of C. F. E. Bach. Spiritual songs and arias from the “Gesangbuch Schemellis” - “Book of Songs” by G. Schemelli (21) and from the 2nd “Notebook” (Notenbuch) by Anna Magdalene Bach (10).

Johann Sebastian Bach is the greatest figure of world culture. The work of the universal musician who lived in the 18th century is all-encompassing in genre: the German composer combined and generalized the traditions of the Protestant chorale with the traditions music schools Austria, Italy and France.

200 years after the death of the musician and composer, interest in his work and biography has not cooled, and contemporaries use Bach’s works in the twentieth century, finding relevance and depth in them. The composer's chorale prelude is heard in Solaris. The music of Johann Bach, as the best creation of mankind, was recorded on the Voyager Golden Record, attached to the spacecraft launched from Earth in 1977. According to the New York Times, Johann Sebastian Bach is the first in the top ten world composers who created masterpieces that stand above time.

Childhood and youth

Johann Sebastian Bach was born on March 31, 1685 in the Thuringian city of Eisenach, located between the hills of the Hainig national park and the Thuringian Forest. The boy became the youngest and eighth child in the family of professional musician Johann Ambrosius Bach.

There are five generations of musicians in the Bach family. Researchers counted fifty relatives of Johann Sebastian who connected their lives with music. Among them is the composer's great-great-grandfather, Faith Bach, a baker who carried a zither everywhere, a box-shaped plucked musical instrument.

The head of the family, Ambrosius Bach, played the violin in churches and organized social concerts, so the first music lessons youngest son he taught. Johann Bach sang in the choir from an early age and delighted his father with his abilities and greed for musical knowledge.

At the age of 9, Johann Sebastian’s mother, Elisabeth Lemmerhirt, died, and a year later the boy became an orphan. The younger brother was taken into the care of the elder, Johann Christoph, a church organist and music teacher in the neighboring town of Ohrdruf. Christophe sent Sebastian to the gymnasium, where he studied theology, Latin, and history.

The older brother taught the younger brother to play the clavier and organ, but these lessons were not enough for the inquisitive boy: secretly from Christophe, he took out a notebook with works from the closet famous composers and on moonlit nights he copied notes. But his brother discovered Sebastian doing something illegal and took away the notes.

At the age of 15, Johann Bach became independent: he got a job in Lüneburg and brilliantly graduated from the vocal gymnasium, opening his way to university. But poverty and the need to earn a living put an end to my studies.

In Lüneburg, curiosity pushed Bach to travel: he visited Hamburg, Celle and Lübeck, where he became acquainted with the work of famous musicians Reincken and Georg Böhm.

Music

In 1703, after graduating from the gymnasium in Lüneburg, Johann Bach got a job as a court musician in the chapel of the Weimar Duke Johann Ernst. Bach played the violin for six months and gained his first popularity as a performer. But soon Johann Sebastian got tired of pleasing the ears of gentlemen by playing the violin - he dreamed of developing and opening new horizons in art. Therefore, without hesitation, he agreed to take the vacant position of court organist in the Church of St. Boniface in Arnstadt, which is 200 kilometers from Weimar.

Johann Bach worked three days a week and received a high salary. The church body, set up according to the new system, expanded the possibilities young performer and composer: in Arnstadt, Bach wrote three dozen organ works, capriccios, cantatas and suites. But tense relations with the authorities pushed Johann Bach to leave the city after three years.

The last straw that outweighed the patience of the church authorities was the long excommunication of the musician from Arnstadt. The inert churchmen, who already disliked the musician for his innovative approach to the performance of cult sacred works, gave Bach a humiliating trial for his trip to Lubeck.

The famous organist Dietrich Buxtehude lived and worked in the city, whose improvisations on the organ Bach dreamed of listening to since childhood. Without money for a carriage, Johann went to Lübeck on foot in the fall of 1705. The master's performance shocked the musician: instead of the allotted month, he stayed in the city for four.

After returning to Arnstadt and arguing with his superiors, Johann Bach left his “hometown” and went to the Thuringian city of Mühlhausen, where he found work as an organist in the Church of St. Blaise.

The city authorities and church authorities favored the talented musician; his earnings turned out to be higher than in Arnstadt. Johann Bach proposed an economical plan for the restoration of the old organ, approved by the authorities, and wrote a festive cantata, “The Lord is My King,” dedicated to the inauguration of the new consul.

But a year later, the wind of wanderings “removed” Johann Sebastian from his place and transferred him to the previously abandoned Weimar. In 1708, Bach took the place of court organist and settled in a house next to the ducal palace.

The “Weimar period” of Johann Bach’s biography turned out to be fruitful: the composer composed dozens of keyboard and orchestral works, became acquainted with the work of Corelli, and learned to use dynamic rhythms and harmonic patterns. Communication with his employer, Crown Duke Johann Ernst, a composer and musician, influenced Bach’s work. In 1713, the Duke brought from Italy sheet music of musical works by local composers, which opened new horizons in art for Johann Bach.

In Weimar, Johann Bach began work on the “Organ Book,” a collection of choral preludes for the organ, and composed the majestic organ “Toccata and Fugue in D minor,” “Passacaglia in C minor,” and 20 spiritual cantatas.

By the end of his service in Weimar, Johann Sebastian Bach became widely famous master harpsichord and organist. In 1717, the famous French harpsichordist Louis Marchand arrived in Dresden. Concertmaster Volumier, having heard about Bach's talent, invited the musician to compete with Marchand. But on the day of the competition, Louis fled the city, afraid of failure.

The desire for change called Bach on the road in the fall of 1717. The Duke released his beloved musician “with disgrace.” The organist was hired as bandmaster by Prince Anhalt-Keten, who was well versed in music. But the prince’s commitment to Calvinism did not allow Bach to compose sophisticated music for worship, so Johann Sebastian wrote mainly secular works.

During the Köthen period, Johann Bach composed six suites for cello, the French and English keyboard suites, and three sonatas for violin solos. The famous “Brandenburg Concertos” and a cycle of works, including 48 preludes and fugues, called “The Well-Tempered Clavier” appeared in Köthen. At the same time, Bach wrote two- and three-voice inventions, which he called “symphonies.”

In 1723, Johann Bach took a job as cantor of the St. Thomas choir in the Leipzig church. In the same year, the public heard the composer’s work “St. John’s Passion.” Soon Bach took the position of “musical director” of all the city churches. During the 6 years of the “Leipzig period”, Johann Bach wrote 5 annual cycles of cantatas, two of which are lost.

The city council gave the composer 8 choral performers, but this number was extremely small, so Bach hired up to 20 musicians himself, which caused frequent clashes with the authorities.

In the 1720s, Johann Bach composed mainly cantatas for performance in the churches of Leipzig. Wanting to expand his repertoire, the composer wrote secular works. In the spring of 1729, the musician was appointed head of the College of Music, a secular ensemble founded by Bach's friend Georg Philipp Telemann. The ensemble performed two-hour concerts twice a week for a year at Zimmerman's Coffee House near the market square.

Most of the secular works composed by the composer from 1730 to 1750 were written by Johann Bach to be performed in coffee houses.

These include the humorous “Coffee Cantata”, the comic “Peasant Cantata”, keyboard pieces and concertos for cello and harpsichord. During these years the famous “Mass in B Minor” was written, which is called the best choral work of all times.

For spiritual performance, Bach created the High Mass in B minor and the St. Matthew Passion, receiving from the court the title of Royal Polish and Saxon court composer as a reward for his creativity.

In 1747, Johann Bach visited the court of King Frederick II of Prussia. The nobleman offered the composer a musical theme and asked him to write an improvisation. Bach, a master of improvisation, immediately composed a three-part fugue. He soon supplemented it with a cycle of variations on this theme, called it a “Musical Offering” and sent it as a gift to Frederick II.

Another large cycle, called “The Art of Fugue,” was not completed by Johann Bach. The sons published the series after their father's death.

In the last decade, the composer's fame faded: classicism flourished, and contemporaries considered Bach's style old-fashioned. But young composers, brought up on the works of Johann Bach, revered him. The work of the great organist was also loved.

A surge of interest in the music of Johann Bach and a revival of the composer's fame began in 1829. In March, pianist and composer Felix Mendelssohn organized a concert in Berlin, where the work “St. Matthew Passion” was performed. An unexpectedly loud response followed, and the performance attracted thousands of spectators. Mendelssohn went with concerts to Dresden, Koenigsberg and Frankfurt.

Johann Bach’s work “A Musical Joke” is still one of the favorites of thousands of performers around the world. Playful, melodic, gentle music sounds in different variations, adapted for playing modern instruments.

Western and Russian musicians popularize Bach's music. Vocal ensemble The Swingle Singers released debut album Jazz Sebastian Bach, which brought the group of eight vocalists world fame and a Grammy Award.

Processed the music of Johann Bach and jazz musicians Jacques Lussier and Joel Spiegelman. I tried to pay tribute to the genius Russian performer.

Personal life

In October 1707, Johann Sebastian Bach married his young cousin from Arnstadt, Maria Barbara. The couple had seven children, but three died in infancy. Three sons - Wilhelm Friedemann, Carl Philipp Emmanuel and Johann Christian - followed in their father's footsteps and became famous musicians and composers.

In the summer of 1720, when Johann Bach and the Prince of Anhalt-Köthen were abroad, Maria Barbara died, leaving four children.

The composer’s personal life improved a year later: at the Duke’s court, Bach met the young beauty and talented singer Anna Magdalena Wilke. Johann married Anna in December 1721. They had 13 children, but 9 outlived their father.

In his old age, family turned out to be the only consolation for the composer. Johann Bach composed for his wife and children vocal ensembles, organized chamber concerts, enjoying the songs of his wife (Anna Bach had a beautiful soprano) and the playing of her grown-up sons.

The fate of Johann Bach's wife and youngest daughter was sad. Anna Magdalena died ten years later in a house of contempt for the poor, and the youngest daughter Regina eked out a semi-beggarly existence. In the last years of her life, Ludwig van Beethoven helped the woman.

Death

In the last 5 years, Johann Bach's vision rapidly deteriorated, but the composer composed music, dictating works to his son-in-law.

In 1750, British ophthalmologist John Taylor arrived in Leipzig. The doctor’s reputation can hardly be called impeccable, but Bach grasped at straws and took a chance. After the operation, the musician’s vision did not return. Taylor operated on the composer a second time, but after a short-term return of vision, deterioration occurred. On July 18, 1750, there was a stroke, and on July 28, 65-year-old Johann Bach died.

The composer was buried in Leipzig in a church cemetery. The lost grave and remains were found in 1894 and reburied in a stone sarcophagus in the Church of St. John, where the musician served for 27 years. The temple was destroyed by bombing during World War II, but the ashes of Johann Bach were found and transferred in 1949, buried at the altar of the Church of St. Thomas.

In 1907, a museum was opened in Eisenach, where the composer was born, and in 1985 a museum appeared in Leipzig.

• Johann Bach's favorite pastime was visiting provincial churches dressed as a poor teacher.
• Thanks to the composer, both men and women sing in church choirs. Johann Bach's wife became the first church choir member.
• Johann Bach did not take money for private lessons.
• The surname Bach is translated from German as “stream”.

• Johann Bach spent a month in prison for constantly asking for resignation.
• George Frideric Handel is a contemporary of Bach, but the composers did not meet. The fates of the two musicians are similar: both went blind as a result of an unsuccessful operation performed by the quack doctor Taylor.
• A complete catalog of Johann Bach's works was published 200 years after his death.
• A German nobleman ordered the composer to write a piece, after listening to which he would be able to fall into a deep sleep. Johann Bach fulfilled the request: the famous Goldberg Variations are still a good “sleeping pill”.

Aphorisms of Bach

• “To get a good night's sleep, you should go to bed on a different day than you need to wake up.”
• “Playing the keyboard is easy: you just need to know which keys to press.”
• “The purpose of music is to touch hearts.”

Discography

• "Ave Maria"
• "English Suite N3"
• "Brandenburg Concert N3"
• "Italian Influence"
• "Concert N5 F-Minor"
• "Concert N1"
• "Concerto for cello and orchestra D-Minor"
• "Concerto for flute, cello and harp"
• "Sonata N2"
• "Sonata N4"
• "Sonata N1"
• "Suite N2 B-Minor"
• "Suite N2"
• "Suite for Orchestra N3 D-Major"
• "Toccata and Fugue D-Minor"