Bach famous works list. Bach's most famous work

From an early age, Bach felt the organ field was his calling and tirelessly studied the art of organ improvisation, which was the basis of his compositional skills. As a child, in his native Eisenach, he listened to his uncle play the organ, and then, in Ohrdruf, his brother. In Arnstadt, Bach himself began to work as an organist, and undoubtedly, already there he tried to compose for the organ, although his choral arrangements, which confused the Arnstadt parishioners with their unusualness, have not reached us. The composer also served as an organist in Weimar, where his original organ style. As you know, it was during the Weimar years that exceptional activity occurred in the field of Bach’s organ creativity - most of the organ works were created: Toccata and Fugue in d-moll, Toccata, adagio and fugue in C-dur, Prelude and Fugue in a-moll, Fantasia and Fugue in g-moll , Passacaglia c-moll and many others. Even when, due to circumstances, the composer switched to another job, he did not part with his portable organ. We must not forget that Bach’s oratorios, cantatas, and passions were played in the church, accompanied by an organ. It was through the organ that Bach was known to his contemporaries. He achieved the highest perfection in organ improvisations, stunning everyone who could hear him. The famous organist Jan Reincken, already in his declining years, heard Bach play and said: “I thought that this art had died long ago, but now I see that it lives in you!”

Main features of the organ style

In Bach's era, the organ was the “king of all instruments” - the most powerful, full-sounding and colorful. It sounded under the spacious vaults of church cathedrals with their spatial acoustics. Organ art was addressed to the broad masses of listeners, hence such qualities of organ music as oratorical pathos, monumentality, and concert performance. This style required extensive forms and virtuosity. Organ works are similar to monumental (fresco) painting, where everything is presented in close-up. It is not surprising that Bach created the most majestic instrumental works specifically for the organ: Passacaglia in C-moll, Toccata, adagio and fugue in C-dur, Fantasia and fugue in G-moll and others.

Traditions of German organ art. Chorale preludes.

Bach's organ art grew on rich soil, because it was German masters who played the most important role in the development of organ music. In Germany, organ art has reached an unprecedented scale, and a whole galaxy of wonderful organists has emerged. Bach had a chance to hear many of them: in Hamburg - J. Reincken, in Lubeck - D. Buxtehude, who was especially close to Bach. From his predecessors he adopted the main genres of German organ music - fugue, toccata, chorale prelude.

In Bach’s organ work, two genre varieties can be distinguished:

• chorale preludes , as predominantly small compositions;
• "small" polyphonic cycles , as works of large form. They consist of some kind of introductory piece and a fugue.

Bach wrote more than 150 chorale preludes, most of which are contained in 4 collections. A special place among them is occupied by the “Organ Book” - the earliest (1714-1716), consisting of 45 arrangements. Later, the collection “Keyboard Exercises” appeared, including 21 arrangements, some of which were designed for organ performance. The next collection - of 6 pieces - is known as the “Schubler chorales” (named after the publisher and organist Schubler, a student of Bach). Latest collection choral arrangements - “18 chorales” - were prepared by the composer for publication shortly before his death.

With all the diversity of Bach's chorale preludes, they are united by:

• small scale;
• dominance of the melodic beginning, since the genre of choral arrangement is associated with vocal melodies;
• chamber style. In the chorale preludes, Bach emphasized not the enormous resources of the powerful organ sound, but its colorfulness and timbre richness;
• widespread use of polyphonic techniques.

The range of images of chorale preludes is associated with the content of the underlying chorales. In general, these are examples of Bach's philosophical lyrics, reflections on man, his joys and sorrows.

Prelude in Es major

Her music has a majestic, calm, enlightened character, developing smoothly and leisurely. The theme of the chorale is quite monotonous in rhythmic and melodic terms. It is based on movement along stable steps of the scale with multiple repetitions of one sound. However, Bach begins his prelude not with a chorale melody, but with his own theme - more melodious, flexible and moving, and at the same time akin to the chorale.

As it develops, this theme is continuously enriched intonationally and rhythmically. Widely chanted phrases appear in it, and the range expands. Along with this, instability in it intensifies, the motif of a sigh is repeated sequentially, which becomes a means of intensifying expression.

The tonal plan of the prelude covers related flat keys. The tonal development is directed from light major colors to a darker minor color in the middle, and then to the return of the original light sound.

The sparse, clear texture of the prelude is based on two main melodic lines, far apart from each other (this creates a feeling of spatial breadth). The middle voices, where the theme of the chorale is stated, are included later and also have melodic independence.

Prelude in f minor

(“I call upon you, Lord”)

In this prelude, the melody of the chorale is placed in the upper voice; it dominates, determining the entire appearance of the work. Bach is responsible for harmonizing the melody and creating the texture of the accompaniment.

The theme of the chorale is songlike, based on smooth soft intonations. Rhythmic monotony, emphasized by the smooth movement of the bass, gives the music rigor and composure. The main mood is deep concentration, sublime sadness.

The texture clearly distinguishes three levels: the upper voice (the theme of the chorale itself, the sound of which in the middle register resembles singing), the bass line and the middle voice - intonationally very expressive and rhythmically mobile. 2-part form. The first section is clearly divided into sentences and ends with a clear cadence. The second develops more continuously.

Two-part polyphonic cycles

Two-part compositions, consisting of some kind of introductory piece (prelude, fantasy, toccata) and fugue, were already found among composers of the pre-Bakhov generation, but then they were the exception rather than the rule, a pattern. Either independent, unrelated fugues, toccatas, fantasies, or one-part compositions predominated mixed type. They freely combined prelude-improvisation and fugue episodes. Bach broke this tradition by distinguishing contrasting spheres in two individual, but organically interconnected parts of the polyphonic cycle. The first part concentrated a free, improvisational element, while the second - a fugue - was strictly organized. Musical development in a fugue it always obeys the laws of logic and discipline and flows in a strictly defined “channel”. Well-thought-out system compositional techniques The fugue had already taken shape before Bach, in the work of his predecessors - German organists.

The introductory parts of the polyphonic cycle did not have such a “assignment”. They were developed in the practice of free foreplay on the organ, that is, they differed improvisational nature - complete freedom in expressing emotions. They are characterized by:

• “general forms” of movement - virtuosic passages, harmonic figurations, that is, movement according to the sounds of chords;
• sequential development of small melodic cells;
• free change of pace, episodes of different nature;
• bright dynamic contrasts.

Each polyphonic cycle by Bach has its own unique appearance and individual artistic solution. In general, and mandatory principle is harmonious unity of its two constituent parts. This unity is not limited to the general tonality. So, for example, in the most popular Bach organ cycle - Toccata and Fugue d-moll- the unity of the composition follows from the multilateral internal connections of the toccata and fugue.

The music of the toccata gives the impression of powerful force and rebellion. The majestic pathos captivates from the very first sounds introductions- small, but very effective, setting the tone for everything that follows. The opening theme begins, as it were, immediately with the culmination (“peak-source”), at ff, in a powerful organ unison. It is based on declamatory, oratorical, appealing intonations, which, thanks to strong sonority and meaningful pauses, sound very impressive.

The same intonations underlie fugue themes- descent along the scale of a minor scale from the V degree to the leading tone. Thanks to the non-stop ostinato running of 16th notes, fugue music has an active, energetic, motor character. Its theme also has a clear similarity with the second section of the toccata - the presence of hidden two-voices, repeated repetition of the sound “A”, and the same rhythmic pattern. Essentially, both themes are perceived as two variants of one thematic material (the fugue theme is like mirror reflection 2nd section of the toccata).

On a larger scale, the unity of toccata and fugue is inherent in the cycle compositions. The culmination of the entire work is the final section of the fugue - a large coda of a pathetic nature. Here the images of the toccata return, and polyphonic techniques give way to homophonic-harmonic ones. Massive chords and virtuosic passages sound again. Thus, in the cycle there is a feeling of tripartiteness (toccata - fugue - toccata coda).

In addition, the d minor fugue has another feature that emphasizes its relationship with the toccata - the abundance of interludes. Interludes mainly consist of “broken” chords and their sequential development. Thanks to this, the polyphonic style of the fugue somewhat approaches the homophonic-harmonic style, echoing the improvisational style of the toccata.

The combination of two parts of a polyphonic cycle may not be based on kinship, but, on the contrary, on a bright contrasting comparison of their musical images. This is how, for example, the g-moll organ cycle is built.

Fantasia and fugue g-moll

Music fantasy its origins are connected with the harsh and majestic images of Bach’s choral works - his B minor Mass or passions. It compares two contrasting emotional spheres. The first is tragic. The combination of powerful chords with a single-voice recitative in a tense tessitura is similar to the alternation of a choir with a solo voice. Musical development takes place in an atmosphere of increasing tension. Thanks to the organ section, sharply unstable, dissonant chords arise, and recitative phrases gradually become more and more saturated with drama.

The second theme is the opposite of the first in all its components. Against the backdrop of measuredly calm moves of the lower voice, the upper voices imitate a small lyrical chant based on a diminished triad. Minor modes, softness of sound give the music a touch of sublime detachment. It ends thoughtfully and sadly with a descending second intonation.

Almost the entire further continuation of the fantasy is occupied by the complex development of the first theme. The drama of the overall sound is aggravated by a brief reprise of the second theme, raised to a higher register.

The tragedy of fantasy is opposed by energy and activity fugues. It is distinguished by its dance character and obvious connections with everyday secular music. The closeness to the folk genre's origins is manifested, in particular, in the reprise structure of the theme, its completeness, and the periodicity of rhythmic accents. The theme highlights wide, “brisk” leaps of fifths and octave, which, in combination with a springy, elastic rhythm, create a very dynamic image. The energy of movement is also supported by modal tonal development: the tonic and dominant of the main key are compared with the tonic and dominant of the parallel major.

The fugue form is based on a reprise tripartite. The first part consists of exposition and counter-exposition, followed by a large middle development part and an abbreviated reprise. Each theme is preceded by extensive interludes.

A huge internal contrast also distinguishes the organ cycle in C major, the composition of which is expanded by including another, 3rd, movement.

Toccata, adagio and fugue in C major

The line of figurative development is directed here from the majestic pathos of the toccata to the sublime lyricism of Adagio, then to the powerful Grave (the final section of Adagio) and, finally, to the dance dynamics of the fugue.

Basic principle of construction toccatas- improvisation. It consists of several relatively complete sections, which differ from each other in the type of melodic movement (these are either virtuoso passages, or sequential development of small melodic turns, or chord figuration - movement along the sounds of chords). At the same time, there is a clear unifying logic in the toccata: a steady increase from beginning to end - the final majestic peak. It is achieved by a gradual increase in overall sonority, thickening the texture (due to the branching of voices, their roll calls in different registers). At the last stage of this movement, the lowest sounds of the organ - the organ pedal - come into play.

IN Adagio everything is in contrast to the toccata: minor key (parallel A-moll), intimate sounding - in the spirit of choral preludes, the same type of texture throughout (leading voice and accompaniment), homogeneous thematic, lack of virtuoso brilliance, bright climaxes. Throughout the Adagio, a mood of deep concentration is maintained.

The final 10 bars of the Adagio are dramatically different from everything that came before. The character of the music here becomes majestic and solemn.

Large 4-voice fugue written written on a topic of wide extent. It is diatonic, based on dance rhythms, which, in combination with the 6/8 time signature, give the music a resemblance to a gigue. The theme is carried out 11 times: 7 times in exposition, 3 times in development and 1 time in reprise. Thus, much of the development is taken up by interludes.

The free form of the toccata consists of several episodes, clearly demarcated from one another. Differing in texture, dynamic, register, they are related:

• a mood of majestic pathos;
• a steady increase in dramatic tension, reaching its highest intensity at the conclusion of the toccata;
• by the nature of the theme.

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” - “The Musical Garden” by 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-major.
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-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).

It remains to report on Anna Magdalena. She knew the bitterness of early old age. At first, the magistrate undoubtedly provided some assistance to Bach’s widow; receipts for her receipt of sums of money have been preserved. There is no reliable information about the relationship with the stepmother and mother of Bach’s sons after his death. Anna Magdalena, fifty-nine years old, died on Wednesday February 27, 1760 in Leipzig, on Heinenstrasse, apparently in a shelter for the poor.

For many years, the cantor's loving and caring wife so often hurriedly prepared the notes for her Sebastian's next Sunday cantata! In a handwriting similar to that of her husband, having completed the last line, she wrote in large letters on the page the words that meant “the end” in Italian.

Let this sign complete our story of life and a brief outline of the works of the great Bach:

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.

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 Ordruf 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- 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 the son Johann Christoph Friedrich (the 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 the last son, Johann Christian (the future “London Bach”) was born.

1736 - 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 “Music Collegium”.

1741 - In the summer, Bach visited 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.

Toccata and Fugue in D minor (BWV 565) – business card Johann Sebastian Bach, one of the most powerful organ works ever composed.

Johann Sebastian Bach (1685-1750) - outstanding German composer, a virtuoso organist who created over 1000 works during his life.

Bach's work represents everything significant genres of that time, except for opera. Bach - famous master polyphony, a successor of ancient traditions, in whose work polyphony reaches its peak.

Today, each of the famous works is assigned a BWV number (abbreviated from Bach Werke Verzeichnis - a catalog of works by Johann Sebastian Bach). Bach wrote music for various instruments, both sacred and secular. Some of Bach's works are adaptations of works by other composers, and some are revised versions of their own works.

Church organist

In January 1703, after completing his studies, he received the position of court musician to the Weimar Duke Johann Ernst. During his seven months of service in Weimar, Bach's fame as a magnificent performer spread. Bach was invited to the position of organ caretaker at the Church of St. Boniface in Arnstadt, located 180 km from Weimar.

In August 1703, Bach took over as organist of the church. He had to work three days a week, 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.

In 1706, Bach decides to change his job. He was offered a more lucrative and higher position as organist at the Church of St. Blaise in Mühlhausen, a large city in the north of the country. In 1707, Bach accepted this offer, taking the place of organist Johann Georg Ale. His salary was increased compared to the previous one, and the standard of the singers was better.

Toccata and Fugue in D minor (BWV 565)

Toccata and Fugue in D minor (BWV 565) is a work for organ by Johann Sebastian Bach, one of his most popular works.

The work is believed to have been written by Bach during his stay in Arnstadt between 1703 and 1707.

The peculiarity of this small polyphonic cycle is the continuity of development of the musical material (without a break between the toccata and fugue). The form consists of three parts: toccata, fugue and coda. The latter, echoing the toccata, forms a thematic arch.

Toccata

The toccata begins with a clearly visible mordent, which is repeated an octave lower. The toccata consists of episodes contrasting in tempo and texture, ending with cadences.

Beginning with allegro, the toccata ends in adagio tempo on the third degree of D minor (F), which adds incompleteness and makes it clear that this is not the finale.

Fugue

The fugue theme is written using the technique of hidden polyphony. Further imitative development of the work is based on melodic figurations. The interlude and middle movement deviate into the parallel key of F major. The reprise, returning the fugue to D minor, begins with a stretta.

The coda consists of several “improvisational” contrasting episodes (the development technique is borrowed from the toccata). The entire work ends with a plagal cadence.

Arrangements

There are many arrangements of toccata and fugue. In particular, for piano, guitar, electric guitar, accordion, strings, jazz orchestra and other performing groups. A cappella arrangements are also known.

Johann Sebastian Bach
Years of life: 1685-1750

Bach was a genius of such magnitude that even today he seems an unsurpassed, exceptional phenomenon. His creativity is truly inexhaustible: after the “discovery” of Bach’s music in XIX century interest in it is steadily increasing, Bach's works are winning an audience even among listeners who usually do not show interest in “serious” art.

Bach's work, on the one hand, was a kind of summing up. In his music, the composer relied on everything that had been achieved and discovered in musical art before him. Bach knew German perfectly organ music, choral polyphony, features of German and Italian violin style. He not only became acquainted with, but also copied the works of contemporary French harpsichordists (primarily Couperin), Italian violinists (Corelli, Vivaldi), and major representatives of Italian opera. Possessing an amazing sensitivity to everything new, Bach developed and generalized his accumulated creative experience.

At the same time, he was a brilliant innovator who opened up the development of the world musical culture new perspectives. His powerful influence was reflected in the work of the great composers of the 19th century (Beethoven, Brahms, Wagner, Glinka, Taneyev), and in the works of outstanding masters of the 20th century (Shostakovich, Honegger).

Bach's creative heritage is almost immense, it includes more than 1000 works of various genres, and among them there are those whose scale is exceptional for their time (MP). Bach's works can be divided into three main genre groups:

• vocal and instrumental music;
• organ music,
• music for other instruments (clavier, violin, flute, etc.) and instrumental ensembles (including orchestral).

The works of each group are mainly related to certain period creative biography of Bach. The most significant organ works were created in Weimar, keyboard and orchestral works mainly belong to the Köthen period, vocal and instrumental works were mostly written in Leipzig.

The main genres in which Bach worked are traditional: masses and passions, cantatas and oratorios, choral arrangements, preludes and fugues, dance suites and concertos. Having inherited these genres from his predecessors, Bach gave them a scope that they had never known before. He updated them with new means of expression and enriched them with features borrowed from other genres of musical creativity. A striking example can serve . Created for the clavier, it incorporates the expressive properties of large organ improvisations as well as dramatic recitation of theatrical origins.

Bach's work, for all its universality and inclusiveness, “passed by” one of the leading genres of its time - opera. At the same time, there is little that distinguishes some of Bach's secular cantatas from the comedic interlude, which was already being reborn at that time in Italy in opera-buffa. The composer often called them, like the first Italian operas, “dramas on music.” It can be said that Bach’s works such as the “Coffee Room” and “Peasant” cantatas, designed as witty genre scenes from everyday life, anticipated the German Singspiel.

Circle of images and ideological content

The figurative content of Bach's music is limitless in its breadth. The majestic and the simple are equally accessible to him. Bach's art contains deep sorrow, simple-minded humor, acute drama and philosophical reflection. Like Handel, Bach reflected the essential aspects of his era - the first half of the 18th century, but others - not effective heroism, but religious and philosophical problems put forward by the Reformation. In his music he reflects on the most important eternal questions human life - about the purpose of man, about his moral duty, about life and death. These reflections are most often associated with religious themes, because Bach served in the church almost all his life, wrote a huge part of the music for the church, and was himself a deeply religious person who knew the Holy Scriptures very well. He complied church holidays, fasted, confessed, and took communion a few days before his death. The Bible in two languages ​​- German and Latin - was his reference book.

Bach's Jesus Christ is the main character and ideal. In this image, the composer saw the personification of the best human qualities: fortitude, loyalty to the chosen path, purity of thoughts. The most sacred thing in the history of Christ for Bach is Calvary and the cross, the sacrificial feat of Jesus for the salvation of humanity. This theme, being the most important in Bach's work, receives ethical, moral interpretation.

Musical symbolism

The complex world of Bach's works is revealed through musical symbolism that developed in line with Baroque aesthetics. Bach's contemporaries perceived his music, including instrumental, “pure” music, as understandable speech due to the presence in it of stable melodic turns expressing certain concepts, emotions, and ideas. By analogy with classical oratory, these sound formulas are called musical and rhetorical figures. Some rhetorical figures were of a figurative nature (for example, anabasis - ascent, catabasis - descent, circulatio - rotation, fuga - run, tirata - arrow); others imitated the intonations of human speech (exclamatio - exclamation - ascending sixth); still others conveyed affect (suspiratio - sigh, passus duriusculus - chromatic move used to express grief, suffering).

Thanks to stable semantics, musical figures turned into “signs”, emblems of certain feelings and concepts. For example, descending melodies (catadasis) were used to symbolize sadness, dying, and entombment; ascending scales expressed the symbolism of resurrection, etc.

Symbolic motifs are present in all of Bach’s works, and these are not only musical and rhetorical figures. IN symbolic meaning melodies often appear Protestant chorales, their segments.

Bach was associated with the Protestant chorale throughout his life - both by religion and by occupation as a church musician. He constantly worked with the chorale in a variety of genres - organ choral preludes, cantatas, passions. It is quite natural that P.Kh. has become integral integral part musical language Bach.

Chorals were sung by the entire Protestant community; they entered the spiritual world of man as a natural, necessary element of the worldview. Chorale melodies and the religious content associated with them were known to everyone, so people of Bach’s time easily formed associations with the meaning of the chorale, with a specific event in the Holy Scriptures. Permeating all of Bach’s work, the melodies of P.H. fill his music, including instrumental music, with a spiritual program that clarifies the content.

Symbols are also stable sound combinations that have constant meanings. One of Bach's most important symbols is cross symbol, consisting of four notes in different directions. If you graphically connect the first with the third, and the second with the fourth, a cross pattern is formed. (It is curious that the surname BACH, when transcribed into music, forms the same pattern. Probably, the composer perceived this as a kind of finger of fate).

Finally, there are numerous connections between Bach’s cantata-oratorio (i.e. textual) works and his instrumental music. Based on all the listed connections and analysis of various rhetorical figures, a system musical symbols Bach. A huge contribution to its development was made by A. Schweitzer, F. Busoni, B. Yavorsky, M. Yudina.

"Second birth"

Bach's brilliant work was not truly appreciated by his contemporaries. While enjoying fame as an organist, during his lifetime he did not attract due attention as a composer. Not a single serious work has been written about his work, only an insignificant part of the works has been published. After Bach's death, his manuscripts gathered dust in the archives, many were irretrievably lost, and the composer's name was forgotten.

Genuine interest in Bach arose only in the 19th century. It was started by F. Mendelssohn, who accidentally found the notes of the “St. Matthew Passion” in the library. Under his direction this work was performed in Leipzig. Most listeners, literally shocked by the music, have never heard the name of the author. This was Bach's second birth.

On the centenary of his death (1850), a Bach Society, which set the goal of publishing all the surviving manuscripts of the composer in the form of a complete collection of works (46 volumes).

Several of Bach's sons became prominent musicians: Philipp Emmanuel, Wilhelm Friedemann (Dresden), Johann Christoph (Bückenburg), Johann Christian (the youngest, "London" Bach).

Biography of Bach