Biography of Bach. Organ works of Bach Work of Bach first fsh

Bach Johann Sebastian, whose biography is of interest to many music lovers, became one of the greatest composers in its entire history. In addition, he was a performer, a virtuoso organist, and a talented teacher. In this article we will look at the life of Johann Sebastian Bach and also introduce his work. The composer's works are often heard in concert halls Worldwide.

Johann Sebastian Bach (March 31 (21 - Old Style) 1685 - July 28, 1750) was a German composer and musician of the Baroque era. He enriched the musical style created in Germany thanks to his mastery of counterpoint and harmony, and adapted foreign rhythms and forms, borrowed, in particular, from Italy and France. Bach's works are the Goldberg Variations, the Brandenburg Concertos, the Mass in B Minor, more than 300 cantatas, of which 190 have survived, and many other works. His music is considered highly technically sophisticated, filled with artistic beauty and intellectual depth.

Johann Sebastian Bach. short biography

Bach was born in Eisenach into a family of hereditary musicians. His father, Johann Ambrosius Bach, was the founder of the city music concerts, and all his uncles were professional performers. The composer's father taught his son to play the violin and harpsichord, and his brother, Johann Christoph, taught him to play the clavichord, and also introduced Johann Sebastian to modern music. Partly on his own initiative, Bach attended the St. Michael's vocal school in Lüneburg for 2 years. After certification, he held several musical positions in Germany, in particular, court musician to Duke Johann Ernst in Weimar, caretaker of the organ in the church of St. Boniface, located in Arnstadt.

In 1749, Bach's eyesight and overall health deteriorated, and he died in 1750, on July 28. Modern historians believe that the cause of his death was a combination of stroke and pneumonia. Johann Sebastian's fame as an excellent organist spread throughout Europe during Bach's lifetime, although he was not yet so popular as a composer. He became famous as a composer a little later, in the first half of the 19th century, when interest in his music was revived. Currently, Bach Johann Sebastian, whose biography is presented in full below, is considered one of the greatest musical creators in history.

Childhood (1685 - 1703)

Johann Sebastian Bach was born in Eisenach, in 1685, on March 21 according to the old style (new style - on the 31st of the same month). He was the son of Johann Ambrosius and Elisabeth Lemmerhirt. The composer became the eighth child in the family (the eldest son was 14 years older than him at the time of Bach’s birth). The future composer's mother died in 1694, and his father eight months later. Bach was 10 years old at that time, and he went to live with Johann Christoph, his older brother (1671 - 1731). There he studied, performed and transcribed music, including his brother's compositions, despite the ban on doing so. From Johann Christoph he adopted a lot of knowledge in the field of music. At the same time, Bach studied theology, Latin, Greek, French, Italian at the local gymnasium. As Johann Sebastian Bach later admitted, the classics inspired and amazed him from the very beginning.

Arnstadt, Weimar and Mühlhausen (1703 - 1717)

In 1703, after finishing his studies at St. Michael's School in Lüneburg, the composer was appointed court musician to the chapel of Duke Johann Ernst III in Weimar. During his seven-month stay there, Bach's reputation as an excellent keyboard player was established, and he was invited to a new position as caretaker of the organ at the church of St. Boniface, located in Arnstadt, 30 km southwest of Weimar. Despite good family connections and his own musical enthusiasm, tensions with his superiors arose after several years of service. In 1706, Bach was offered the post of organist in the Church of St. Blaise (Mühlhausen), which he took in next year. The new position paid much higher, included much better working conditions, as well as a more professional choir with which Bach had to work. Four months later, Johann Sebastian's wedding to Maria Barbara took place. They had seven children, four of whom lived to adulthood, including Wilhelm Friedemann and Carl Philipp Emmanuel, who later became famous composers.

In 1708, Bach Johann Sebastian, whose biography took a new direction, left Mühlhausen and returned to Weimar, this time as an organist, and from 1714 as a concert organizer, and had the opportunity to work with more professional musicians. In this city, the composer continues to play and compose works for the organ. He also began writing preludes and fugues, which were later included in his monumental work The Well-Tempered Clavier, consisting of two volumes. Each of them includes preludes and fugues written in all possible minor and major keys. Also in Weimar, composer Johann Sebastian Bach began working on the work “Organ Book,” containing Lutheran chorales, a collection of choral preludes for organ. In 1717 he fell out of favor in Weimar, was arrested for almost a month and subsequently removed from office.

Köthen (1717 - 1723)

Leopold (an important person - the Prince of Anhalt-Köthen) offered Bach the job of bandmaster in 1717. Prince Leopold, himself a musician, admired Johann Sebastian's talent, paid him well and gave him considerable freedom in composition and performance. The prince was a Calvinist, and they do not use complex and refined music in worship, accordingly, the work of Johann Sebastian Bach of that period was secular and included orchestral suites, suites for solo cello, for clavier, as well as the famous “Brandenburg Concertos”. In 1720, on July 7, his wife Maria Barbara, who bore him seven children, dies. The composer meets his second wife the following year. Johann Sebastian Bach, whose works were gradually beginning to gain popularity, married a girl named Anna Magdalena Wilcke, a soprano singer, in 1721, December 3.

Leipzig (1723 - 1750)

In 1723, Bach received a new position, beginning to work as cantor of the St. Thomas Choir. This was a prestigious service in Saxony, which the composer carried out for 27 years, until his death. Bach's duties included teaching students to sing and writing church music for the main churches of Leipzig. Johann Sebastian was also supposed to give Latin lessons, but had the opportunity to hire a special person in his place. During Sunday services, as well as on holidays, cantatas were required for church services, and the composer usually performed his own compositions, most of which appeared in the first 3 years of his stay in Leipzig.

Johann Sebastian Bach, whose classics are now well known to many people, expanded his compositional and performing capabilities in March 1729 by taking over the leadership of the College of Music, a secular assembly under the direction of the composer Georg Philipp Telemann. The college was one of dozens of private societies, popular at that time in large German cities, created on the initiative of students of musical institutions. These associations played an important role in German musical life, being led for the most part by outstanding specialists. Many of Bach's works from the 1730s-1740s. were written and performed at the Music College. Johann Sebastian's last major work was “Mass in B Minor” (1748-1749), which was recognized as his most global church work. Although the entire “Mass” was never performed during the author’s lifetime, it is considered one of the composer’s most outstanding creations.

Death of Bach (1750)

In 1749, the composer's health deteriorated. Bach Johann Sebastian, whose biography ends in 1750, suddenly began to lose his sight and turned for help to the English ophthalmologist John Taylor, who performed 2 operations in March-April 1750. However, both were unsuccessful. The composer's vision never returned. On July 28, at the age of 65, Johann Sebastian died. Contemporary newspapers wrote that "death occurred as a result of unsuccessful eye surgery." Currently, historians consider the cause of the composer’s death to be a stroke complicated by pneumonia.

Carl Philipp Emmanuel, son of Johann Sebastian, and his student Johann Friedrich Agricola wrote an obituary. It was published in 1754 by Lorenz Christoph Mizler in a music magazine. Johann Sebastian Bach, short biography which is presented above, was originally buried in Leipzig, near the Church of St. John. The grave remained untouched for 150 years. Later, in 1894, the remains were transferred to a special repository in the Church of St. John, and in 1950 - to the Church of St. Thomas, where the composer still rests.

Organ creativity

During his lifetime, Bach was best known as an organist and composer of organ music, which he wrote in all traditional German genres (preludes, fantasies). Johann Sebastian Bach's favorite genres were toccata, fugue, and chorale preludes. His organ creativity is very diverse. At a young age, Johann Sebastian Bach (we have already briefly touched upon his biography) earned a reputation as a highly creative composer, capable of adapting many foreign styles to the requirements of organ music. He was greatly influenced by the traditions of Northern Germany, in particular Georg Böhm, whom the composer met in Lüneburg, and Dietrich Buxtehude, whom Johann Sebastian visited in 1704 during long vacation. Around the same time, Bach rewrote the works of many Italian and French composers, and later Vivaldi's violin concertos, in order to breathe life into them. new life already as works for organ performance. During the most productive creative period(from 1708 to 1714) Bach Johann Sebastian wrote fugues and tocattas, several dozen pairs of preludes and fugues and the “Organ Book” - an unfinished collection of 46 chorale preludes. After leaving Weimar, the composer wrote less organ music, although he created a number of famous works.

Other works for clavier

Bach wrote a lot of music for the harpsichord, some of which can be performed on the clavichord. Many of these works are encyclopedic, incorporating theoretical methods and techniques that Johann Sebastian Bach loved to use. The works (list) are presented below:

• "The Well-Tempered Clavier" is a two-volume work. Each volume contains preludes and fugues in all common 24 major and minor keys, arranged in chromatic order.
• Inventions and overtures. These two- and three-voice works are arranged in the same order as the Well-Tempered Clavier, with the exception of some rare keys. They were created by Bach for educational purposes.
• 3 collections of dance suites, "French Suites", "English Suites" and partitas for clavier.
• "Goldberg Variations".
• Various pieces such as "Overture in French style", "Italian concerto".

Orchestral and chamber music

Johann Sebastian also wrote works for individual instruments, duets and small ensembles. Many of them, such as partitas and sonatas for solo violin, six different suites for solo cello, partita for solo flute, are considered among the most outstanding in the composer's repertoire. Bach Johann Sebastian wrote symphonies, and also created several compositions for solo lute. He also created trio sonatas, solo sonatas for flute and viola da gamba, a large number of ricercars and canons. For example, the cycles “The Art of Fugue”, “Musical Offering”. Bach's most famous orchestral work is the Brandenburg Concertos, so named because Johann Sebastian presented it in hopes of obtaining work from Christian Ludwig of Brandenburg-Swedish in 1721. His attempt, however, was unsuccessful. The genre of this work is concerto grosso. Other surviving works by Bach for orchestra: 2 violin concertos, a concerto written for two violins (key "D minor"), concertos for clavier and chamber orchestra(from one to four instruments).

Vocal and choral works

• Cantatas. Beginning in 1723, Bach worked in the Church of St. Thomas, and every Sunday, as well as on holidays, he led the performance of cantatas. Although he sometimes staged cantatas by other composers, Johann Sebastian wrote at least 3 cycles of his works in Leipzig, not counting those composed in Weimar and Mühlhausen. In total, more than 300 cantatas devoted to spiritual themes were created, of which approximately 200 have survived.
• Motets. Motets, authored by Johann Sebastian Bach, are works on spiritual themes for choir and basso continuo. Some of them were composed for funeral ceremonies.
• Passions, or passions, oratorios and magnificata. Large works Bach for choir and orchestra are the St. John Passion, the St. Matthew Passion (both written for Good Friday in the churches of St. Thomas and St. Nicholas) and the Christmas Oratorio (a cycle of 6 cantatas intended for the Christmas service). More short essays- "Easter Oratorio" and "Magnificat".
• "Mass in B Minor". Bach created his last great job, "Mass in B Minor", between 1748 and 1749. The Mass was never staged in its entirety during the composer's lifetime.

Musical style

Bach's musical style was shaped by his talent for counterpoint, his ability to lead a tune, his flair for improvisation, his interest in the music of Northern and Southern Germany, Italy and France, and his devotion to the Lutheran tradition. Thanks to the fact that Johann Sebastian had access to many instruments and works in his childhood and youth, and thanks to his ever-increasing talent for writing dense music with stunning sonority, the features of Bach's work were filled with eclecticism and energy, in which foreign influences were skillfully combined with already existing advanced German music school. During the Baroque period, many composers composed mainly only frame works, and the performers themselves supplemented them with their own melodic embellishments and developments. This practice varies considerably among European schools. However, Bach composed most or all of the melodic lines and details himself, leaving little room for interpretation. This feature reflects the density of contrapuntal textures to which the composer gravitated, limiting the freedom to spontaneously change musical lines. For some reason, some sources mention the works of other authors, which were allegedly written by Johann Sebastian Bach. " Moonlight Sonata", for example. You and I, of course, remember that this work was created by Beethoven.

Execution

Modern performers of Bach's works usually follow one of two traditions: the so-called authentic (historically oriented performance) or modern (involving modern instruments, often in large ensembles). In Bach's time, orchestras and choirs were much more modest than they are today, and even his most ambitious works - the passions and the Mass in B minor - were written for far fewer performers. In addition, today you can hear very different versions of the sound of the same music, since in some of Johann Sebastian’s chamber works there was initially no instrumentation at all. Modern "lite" versions of Bach's works have made a great contribution to the popularization of his music in the 20th century. Among them are famous tunes performed by the Swinger Singers and Wendy Carlos' 1968 recording of Switched-On-Bach, using the newly invented synthesizer. Jazz musicians, such as Jacques Loussier, also showed interest in Bach's music. Joel Spiegelman performed an adaptation of his famous “Goldberg Variations”, creating his own work in the New Age style.

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 "Toccata and Fugue in D minor BWV 565" is included in all editions of the authoritative BWV catalog and in the (most complete) new edition of Bach's works (Neue Bach-Ausgabe, known as NBA).

The work was supposedly written by Bach during his stay in Arnstadt between 1703 and 1707. In January 1703, after completing his studies, he received the position of court musician to the Weimar Duke Johann Ernst. It is not known exactly what his duties included, but most likely this position was not related to performing activities. 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 three days a week, and the salary was relatively high. In addition, the instrument was maintained in good condition and was tuned according to a new system that expanded the capabilities of the composer and performer. During this period, Bach created many organ works.

The peculiarity of this small polyphonic cycle is the continuity of development musical material(no break between toccata and fugue). The form consists of three parts: toccata, fugue and coda. The latter, echoing the toccata, forms a thematic arch.

Title page of BWV 565 in a handwritten copy by Johannes Ringk. Due to the fact that Bach's autograph was lost, this copy, as of 2012, is the only source close to the time of creation.

Toccata (in Italian toccata - touch, blow, from toccare - touch, touch) is a virtuoso musical piece for keyboard instruments (clavier, organ).

Beginning of the toccata

Fugue (Italian fuga - running, flight, fast flow) is the most developed form of polyphonic music, which has absorbed all the richness of polyphonic means. The content range of a fugue is practically unlimited, but the intellectual element predominates or is always felt in it. Fugue is distinguished by emotional fullness and at the same time restraint of expression.

This work begins with an alarming but courageous strong-willed cry. It sounds three times, descending from one octave to another, and leads to a thunderous chordal boom in the lower register. Thus, at the beginning of the toccata, a gloomily shaded, grandiose sound space is outlined.

Johann Sebastian Bach's Toccata and Fugue in D Minor BWV 565 played by organist Hans-André Stamm on the Trost-Organ of the Stadtkirche in Waltershausen, Germany.

Then powerful “swirling” virtuosic passages are heard. The contrast between fast and slow movement is reminiscent of cautious respites between fights with the violent elements. And after the freely, improvisationally constructed toccata, a fugue sounds, in which the volitional principle seems to curb elemental forces. And the last bars of the entire work are perceived as a stern and majestic victory of the unyielding human will.

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-dur; 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” (“Sing him a new song”), for 8 voices, B major. “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).

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 is known for its musicality with early XVI 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 was held in high esteem) and Lubeck, where he had the opportunity to get acquainted with the work of famous musicians of his 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 according to a new system that expanded 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 receiving the position of 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.

A long period of composing keyboard and orchestral works, 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 gave him great freedom of action. 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 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 most 1720s, Bach collected an extensive repertoire for performance in the main churches of Leipzig. Over time, he wanted to compose and perform more secular music. In March 1729, Johann Sebastian became the head of the Collegium Musicum, a secular ensemble that had existed since 1701, when he founded it old friend Bach 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 a musical theme and asked him to immediately compose something on 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 their 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 - first of all, to the modern equal temperament system.
15 two-voice and 15 three-voice inventions are small works, arranged in order of increasing number of signs in the key. They were intended (and are still used to this day) for teaching how to play keyboard instruments.
Three collections of suites: "English Suites", "French Suites" and "Partitas for Clavier."
"Goldberg Variations" - a melody with 30 variations. The cycle has a rather complex and unusual structure. 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. The most significant examples of such works are the cycles “The Art of Fugue” and “The 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 dedicated to some event, for example, a wedding. Among Bach's most famous secular cantatas are two “Wedding Cantatas” and the humorous “Coffee Cantata.”

"John Passion" (1724) and "Matthew Passion" (c. 1727) - works for choir and orchestra on gospel theme sufferings of Christ, intended to be performed at vespers in 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 represents full cycle 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.

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 Music book 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- 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 was born last son Johann Christian (future “London Bach”).

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 lead 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. Composing counterpoints of “The Art of Fugue” and fugue on theme B-A-S-N. Completion of processing of chorales.