What works did Bach write? The most famous work of Johann Sebastian Bach

From the 19th century to the present day, interest in the works of Johann Sebastian Bach has not subsided. The creativity of an unsurpassed genius amazes with its scale. known all over the world. His name is known not only to professionals and music lovers, but also to listeners who do not show much interest in “serious” art. On the one hand, Bach's work is a certain result. The composer relied on the experience of his predecessors. He knew very well the choral polyphony of the Renaissance, German organ music, features of the Italian violin style. He carefully studied new material, developed and generalized his accumulated experience. On the other hand, Bach was an unsurpassed innovator who managed to open up new perspectives for the development of world musical culture. The work of Johann Bach had a strong influence on his followers: Brahms, Beethoven, Wagner, Glinka, Taneyev, Honegger, Shostakovich and many other great composers.

Bach's creative heritage

He created over 1000 works. The genres he addressed were very diverse. Moreover, there are works whose scale was exceptional for that time. Bach's work can be divided into four main genre groups:

• Organ music.
• Vocal-instrumental.
• Music for various instruments(violin, flute, clavier and others).
• Music for instrumental ensembles.

The works of each of the above groups belong to a specific period. The most outstanding organ compositions were composed in Weimar. The Keten period marks the appearance huge amount keyboard and orchestral works. Most of the vocal and instrumental songs were written in Leipzig.

Johann Sebastian Bach. Biography and creativity

The future composer was born in 1685 in the small town of Eisenach, in musical family. For the whole family it was a traditional profession. Johann's first music teacher was his father. The boy had an excellent voice and sang in the choir. At the age of 9 he became an orphan. After the death of his parents, he was raised by Johann Christoph (elder brother). At the age of 15, the boy graduated from the Ohrdruf Lyceum with honors and moved to Lüneburg, where he began singing in the choir of the “chosen ones”. By the age of 17, he learned to play various instruments: viola, harpsichord, organ, violin. Since 1703 he has lived in different cities: Arnstadt, Weimar, Mühlhausen. Bach's life and work during this period were full of certain difficulties. He constantly changes his place of residence, which is due to his reluctance to feel dependent on certain employers. He served as a musician (as an organist or violinist). Working conditions also constantly dissatisfied him. At this time, his first compositions for clavier and organ, as well as spiritual cantatas, appeared.

Weimar period

In 1708, Bach began serving as court organist to the Duke of Weimar. At the same time, he works in the chapel as a chamber musician. Bach's life and work during this period were very fruitful. These are the years of first composer maturity. The best ones have appeared organ works. This:

• Prelude and Fugue in C minor, A minor.
• Toccata C major.
• Passacaglia c-moll.
• Toccata and fugue in d minor.
• "Organ book".

At the same time, Johann Sebastian is working on works in the cantata genre, on transcriptions of Italian violin concertos for the clavier. For the first time he turns to the genre of solo violin suite and sonata.

Keten period

Since 1717, the musician settled in Köthen. Here he occupies a high-ranking management position chamber music. He is, in fact, the manager of the entire musical life at court. But he is not happy with the town being too small. Bach is eager to move to a larger, more promising city to give his children the opportunity to go to university and get a good education. There was no high-quality organ in Köthen, and there was also no choir. Therefore, Bach’s keyboard creativity develops here. The composer also pays a lot of attention to ensemble music. Works written in Köthen:

• Volume 1 "HTK".
• English Suites.
• Sonatas for solo violin.
• "Brandenburg Concertos" (six pieces).

Leipzig period and last years of life

Since 1723, the maestro has lived in Leipzig, where he leads the choir (holds the position of cantor) at the school at the Church of St. Thomas in Thomaschul. Takes an active part in a public circle of music lovers. The city's "collegium" constantly organized concerts secular music. What masterpieces were added to Bach’s work at that time? It is worth briefly indicating the main works of the Leipzig period, which can rightfully be considered the best. This:

• "St. John's Passion".
• Mass h-minor.
• "Matthew Passion"
• About 300 cantatas.
• "Christmas Oratorio".

IN recent years life the composer focuses on musical compositions. Writes:

• Volume 2 of "HTK".
• Italian concert.
• Partitas.
• "The Art of Fugue".
• Aria with various variations.
• Organ Mass.
• "Musical Offering"

After an unsuccessful operation, Bach went blind, but did not stop composing music until his death.

Style characteristics

Bach's creative style was formed on the basis of various music schools and genres. Johann Sebastian organically wove the best harmonies into his works. In order to understand the musical language of the Italians, he rewrote their works. His creations were rich in the texts, rhythms and forms of French and Italian music, North German contrapuntal style, as well as Lutheran liturgy. The synthesis of various styles and genres was harmoniously combined with the deep poignancy of human experiences. His musical thought stood out for its special uniqueness, universality and a certain cosmic quality. Bach's work belongs to a style that is firmly established in musical art. This is the classicism of the high baroque era. Bach's musical style is characterized by mastery of an extraordinary melodic structure, where the music is dominated by main idea. Thanks to the mastery of counterpoint techniques, several melodies can interact simultaneously. was a true master of polyphony. He had a penchant for improvisation and brilliant virtuosity.

Main genres

Bach's work includes various traditional genres. This:

• Cantatas and oratorios.
• Passions and Masses.
• Preludes and Fugues.
• Chorale arrangements.
• Dance suites and concerts.

Of course, he borrowed the listed genres from his predecessors. However, he gave them the broadest scope. The maestro skillfully updated them with new musical and expressive means and enriched them with features of other genres. The clearest example is the "Chromatic Fantasia in D Minor". The work was created for the clavier, but contains dramatic recitation of theatrical origins and the expressive properties of large organ improvisations. It is easy to notice that Bach’s work “bypassed” opera, which, by the way, was one of the leading genres of its time. However, it is worth noting that many of the composer’s secular cantatas are difficult to distinguish from comedic interludes (at this time in Italy they were degenerating into opera buffa). Some of Bach's cantatas, created in the spirit of witty genre scenes, anticipated the German Singspiel.

The ideological content and range of images of Johann Sebastian Bach

The composer's work is rich in its figurative content. From the pen of a true master come both extremely simple and extremely majestic creations. Bach's art contains simple-minded humor, deep sorrow, philosophical reflection, and acute drama. The brilliant Johann Sebastian in his music reflected such significant aspects of his era as religious and philosophical problems. With the help of the amazing world of sounds, he reflects on eternal and very important questions human life:

• About the moral duty of man.
• About his role in this world and purpose.
• About life and death.

These reflections are directly related to religious topics. And this is not surprising. The composer served in the church almost all his life, therefore most of I wrote music for her. At the same time, he was a believer and knew the Holy Scriptures. His reference book was the Bible, written in two languages ​​(Latin and German). He kept fasts, confessed, observed church holidays. A few days before his death he took communion. The composer's main character is Jesus Christ. In this perfect image Bach saw the embodiment best qualities inherent in man: purity of thoughts, fortitude, fidelity to the chosen path. The sacrificial feat of Jesus Christ for the salvation of humanity was the most sacred for Bach. This theme was the most important in the composer’s work.

Symbolism of Bach's works

In the Baroque era, musical symbolism appeared. It is through her that the complex and amazing world composer. Bach's music was perceived by his contemporaries as transparent and understandable speech. This happened due to the presence in it of stable melodic turns expressing certain emotions and ideas. Such sound formulas are called musical-rhetorical figures. Some conveyed affect, others imitated the intonations of human speech, and others were of a figurative nature. Here are some of them:

• anabasis - ascent;
• circulatio - rotation;
• catabasis - descent;
• exclamatio - exclamation, ascending sixth;
• fuga - running;
• passus duriusculus - a chromatic move used to express suffering or sorrow;
• suspiratio - sigh;
• tirata - arrow.

Gradually, musical and rhetorical figures become a kind of “signs” of certain concepts and feelings. For example, the descending figure catabasis was often used to convey sadness, melancholy, mourning, death, and the position in the coffin. A gradual upward movement (anabasis) was used to express ascension, high spirits and other moments. Symbolic motifs are observed in all the composer’s works. Bach's work was dominated by Protestant chorale, to which the maestro turned throughout his life. It also has a symbolic meaning. Work with the chorale was carried out in a wide variety of ways. different genres- cantatas, passionas, preludes. Therefore, it is quite logical that the Protestant chorale is an integral part of Bach’s musical language. Among the important symbols found in the music of this artist, we should note stable combinations of sounds that have constant meanings. The symbol of the cross predominated in Bach's work. It consists of four multi-directional notes. It is noteworthy that if you decipher the composer’s surname (BACH) with notes, you will get the same graphic drawing. B - B flat, A - A, C - C, H - B. Researchers such as F. Busoni, A. Schweitzer, M. Yudina, B. Yavorsky and others made a great contribution to the development of Bach’s musical symbols.

"Second birth"

During his lifetime, the work of Sebastian Bach was not appreciated. Contemporaries knew him more as an organist than a composer. Not a single serious book has been written about him. Of the huge number of his works, only a few were published. After his death, the composer's name was soon forgotten, and the surviving manuscripts gathered dust in the archives. Perhaps we would never have known anything about this brilliant man. But, fortunately, this did not happen. True interest in Bach arose in the 19th century. One day F. Mendelssohn discovered the notes of the St. Matthew Passion in the library, which interested him very much. Under his direction, this work was successfully performed in Leipzig. Many listeners were delighted with the music of the still little-known author. We can say that this was the second birth of Johann Sebastian Bach. In 1850 (on the 100th anniversary of the composer's death), the Bach Society was created in Leipzig. The purpose of this organization was to publish all the found manuscripts of Bach in the form of a complete collection of works. As a result, 46 volumes were collected.

Bach's organ works. Summary

The composer created excellent works for the organ. This instrument is a real force of nature for Bach. Here he was able to liberate his thoughts, feelings and emotions and convey all this to the listener. Hence the enlargement of lines, concert performance, virtuosity, and dramatic images. The compositions created for the organ resemble frescoes in painting. Everything in them is presented predominantly close up. In preludes, toccatas and fantasies, the pathos of musical images in free, improvisational forms is observed. Fugues are characterized by special virtuosity and unusually powerful development. Bach's organ work conveys the high poetry of his lyrics and the grandiose scope of his magnificent improvisations.

Unlike keyboard works, organ fugues are much larger in volume and content. Movement musical image and its development proceeds with increasing activity. The unfolding of the material is presented in the form of layering of large layers of music, but there is no particular discreteness or breaks. On the contrary, continuity (continuity of movement) prevails. Each phrase follows from the previous one with increasing tension. Also built climaxes. The emotional upsurge eventually intensifies to highest point. Bach is the first composer to demonstrate the patterns of symphonic development in large forms of instrumental polyphonic music. Bach's organ work seems to split into two poles. The first is preludes, toccatas, fugues, fantasies (large musical cycles). The second is one-part. They are written mainly in chamber style. They reveal mainly lyrical images: intimately mournful and sublimely contemplative. The best works for organ by Johann Sebastian Bach - fugue in D minor, prelude and fugue in A minor and many other works.

Works for clavier

When writing compositions, Bach relied on the experience of his predecessors. However, here too he proved himself to be an innovator. Keyboard creativity Bach is characterized by scale, exceptional versatility, search expressive means. He was the first composer to appreciate the versatility of this instrument. When composing his works, he was not afraid to experiment and implement the most daring ideas and projects. When writing, I was guided by the entire world musical culture. Thanks to him, the clavier expanded significantly. He enriches the instrument with new virtuoso techniques and changes the essence of musical images.

Among his works for organ, the following stand out:

• Two-voice and three-voice inventions.
• "English" and "French" suites.
• "Chromatic Fantasy and Fugue".
• "The Well-Tempered Clavier."

Thus, Bach's work is striking in its scope. The composer is widely known throughout the world. His works make you think and reflect. Listening to his compositions, you involuntarily become immersed in them, thinking about deep meaning underlying them. The genres that the maestro addressed throughout his life were very diverse. This is organ music, vocal-instrumental music, music for various instruments (violin, flute, clavier and others) and for instrumental ensembles.

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 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.

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.

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) is an outstanding German composer, 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, successor 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 different instruments, both spiritual 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 according to a new system that expanded 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 profitable and high 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.

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 was held in high esteem) and Lubeck, where he had the opportunity to get acquainted with the creativity of 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 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. Vlasia in Mühlhausen, a large 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.

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 well Italian composers, 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 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; they were often headed 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 big hall and purchased several tools. Many of secular works Bach, 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 instruments and techniques of 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 musical works. Today, each of the known 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 chorale 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 plays like "Overture in french style", "Chromatic Fantasy 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 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.”

"St. John's Passion" (1724) and "Matthew's Passion" (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”.

Rest vocal works Bach's 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.

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 the art of music before him. Bach had an excellent knowledge of German organ music, choral polyphony, and the peculiarities 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 world musical culture new perspectives. His powerful influence was reflected in the work of the great composers of the 19th century 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 associated with a certain period of Bach’s creative biography. 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 all-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 such works of Bach as “Coffee” and “Peasant” cantatas, solved 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 observed 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: strength of spirit, fidelity 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 chorale preludes, cantatas, passions. It is quite natural that P.Kh. has become integral integral part Bach's musical language.

The chorales were sung by the entire Protestant community; they were part of spiritual world of a person as a natural, necessary element of 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 Bach's system of musical symbols. A. Schweitzer, F. Busoni, B. Yavorsky, M. Yudina made a huge contribution to its development.

"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