Johann Sebastian Bach is the greatest figure of world culture. The work of the universal musician who lived in the 18th century is all-encompassing in genre: the German composer combined and generalized the traditions of the Protestant chorale with the traditions music schools Austria, Italy and France.
200 years after the death of the musician and composer, interest in his work and biography has not cooled, and contemporaries use Bach’s works in the twentieth century, finding relevance and depth in them. The composer's chorale prelude is heard in Solaris. The music of Johann Bach, as the best creation of mankind, was recorded on the Voyager Golden Record, attached to the spacecraft launched from Earth in 1977. According to the New York Times, Johann Sebastian Bach is the first in the top ten world composers who created masterpieces that stand above time.
Childhood and youth
Johann Sebastian Bach was born on March 31, 1685 in the Thuringian city of Eisenach, located between the hills of the Hainig National Park and the Thuringian Forest. The boy became the youngest and eighth child in the family of professional musician Johann Ambrosius Bach.
There are five generations of musicians in the Bach family. Researchers counted fifty relatives of Johann Sebastian who connected their lives with music. Among them is the composer's great-great-grandfather, Faith Bach, a baker who carried a plucked zither everywhere. musical instrument in the form of a box.
The head of the family, Ambrosius Bach, played the violin in churches and organized social concerts, so he taught his youngest son his first music lessons. Johann Bach sang in the choir from an early age and delighted his father with his abilities and greed for musical knowledge.
At the age of 9, Johann Sebastian’s mother, Elisabeth Lemmerhirt, died, and a year later the boy became an orphan. The younger brother was taken into the care of the elder, Johann Christoph, a church organist and music teacher in the neighboring town of Ohrdruf. Christophe sent Sebastian to the gymnasium, where he studied theology, Latin, and history.
The older brother taught the younger brother to play the clavier and organ, but these lessons were not enough for the inquisitive boy: secretly from Christophe, he took out from the closet a notebook with works of famous composers and on moonlit nights rewrote notes. But his brother discovered Sebastian doing something illegal and took away the notes.
At the age of 15, Johann Bach became independent: he got a job in Lüneburg and brilliantly graduated from the vocal gymnasium, opening his way to university. But poverty and the need to earn a living put an end to my studies.
In Lüneburg, curiosity pushed Bach to travel: he visited Hamburg, Celle and Lübeck, where he became acquainted with the work of famous musicians Reincken and Georg Böhm.
Music
In 1703, after graduating from the gymnasium in Lüneburg, Johann Bach got a job as a court musician in the chapel of the Weimar Duke Johann Ernst. Bach played the violin for six months and gained his first popularity as a performer. But soon Johann Sebastian got tired of pleasing the ears of gentlemen by playing the violin - he dreamed of developing and opening new horizons in art. Therefore, without hesitation, he agreed to take the vacant position of court organist in the Church of St. Boniface in Arnstadt, which is 200 kilometers from Weimar.
Johann Bach worked three days a week and received a high salary. The church organ, tuned according to the new system, expanded the capabilities of the young performer and composer: in Arnstadt, Bach wrote three dozen organ works, capriccios, cantatas and suites. But tense relations with the authorities pushed Johann Bach to leave the city after three years.
The last straw that outweighed the patience of the church authorities was the long excommunication of the musician from Arnstadt. The inert clergy, who already disliked the musician for his innovative approach to the performance of cult sacred works, gave Bach a humiliating trial for his trip to Lubeck.
The famous organist Dietrich Buxtehude lived and worked in the city, whose improvisations on the organ Bach dreamed of listening to since childhood. Without money for a carriage, Johann went to Lübeck on foot in the fall of 1705. The master's performance shocked the musician: instead of the allotted month, he stayed in the city for four.
After returning to Arnstadt and arguing with his superiors, Johann Bach left his “hometown” and went to the Thuringian city of Mühlhausen, where he found work as an organist in the Church of St. Blaise.
The city authorities and church authorities favored the talented musician; his earnings turned out to be higher than in Arnstadt. Johann Bach proposed an economical plan for the restoration of the old organ, approved by the authorities, and wrote a festive cantata, “The Lord is My King,” dedicated to the inauguration of the new consul.
But a year later, the wind of wanderings “removed” Johann Sebastian from his place and transferred him to the previously abandoned Weimar. In 1708, Bach took the place of court organist and settled in a house next to the ducal palace.
The “Weimar period” of Johann Bach’s biography turned out to be fruitful: the composer composed dozens of keyboard and orchestral works, became acquainted with the work of Corelli, and learned to use dynamic rhythms and harmonic patterns. Communication with his employer, Crown Duke Johann Ernst, a composer and musician, influenced Bach’s work. In 1713, the Duke brought sheet music from Italy musical works local composers who opened new horizons in art for Johann Bach.
In Weimar, Johann Bach began work on the “Organ Book,” a collection of choral preludes for the organ, and composed the majestic organ “Toccata and Fugue in D minor,” “Passacaglia in C minor,” and 20 spiritual cantatas.
By the end of his service in Weimar, Johann Sebastian Bach had become a well-known harpsichordist and organist. In 1717, the famous French harpsichordist Louis Marchand arrived in Dresden. Concertmaster Volumier, having heard about Bach's talent, invited the musician to compete with Marchand. But on the day of the competition, Louis fled the city, afraid of failure.
The desire for change called Bach on the road in the fall of 1717. The Duke released his beloved musician “with disgrace.” The organist was hired as bandmaster by Prince Anhalt-Keten, who was well versed in music. But the prince’s commitment to Calvinism did not allow Bach to compose sophisticated music for worship, so Johann Sebastian wrote mainly secular works.
During the Köthen period, Johann Bach composed six suites for cello, the French and English keyboard suites, and three sonatas for violin solos. The famous “Brandenburg Concertos” and a cycle of works, including 48 preludes and fugues, called “The Well-Tempered Clavier” appeared in Köthen. At the same time, Bach wrote two- and three-voice inventions, which he called “symphonies.”
In 1723, Johann Bach took a job as cantor of the St. Thomas choir in the Leipzig church. In the same year, the public heard the composer’s work “St. John’s Passion.” Soon Bach took the position of “musical director” of all the city churches. During the 6 years of the “Leipzig period”, Johann Bach wrote 5 annual cycles of cantatas, two of which are lost.
The city council gave the composer 8 choral performers, but this number was extremely small, so Bach hired up to 20 musicians himself, which caused frequent clashes with the authorities.
In the 1720s, Johann Bach composed mainly cantatas for performance in the churches of Leipzig. Wanting to expand his repertoire, the composer wrote secular works. In the spring of 1729, the musician was appointed head of the College of Music, a secular ensemble founded by Bach's friend Georg Philipp Telemann. The ensemble performed two-hour concerts twice a week for a year at Zimmerman's Coffee House near the market square.
Majority secular works, composed by the composer from 1730 to 1750, Johann Bach wrote for performance in a coffee house.
These include the humorous “Coffee Cantata”, the comic “Peasant Cantata”, keyboard pieces and concertos for cello and harpsichord. During these years, the famous “Mass in B Minor” was written, which is called the best choral work of all time.
For spiritual performance, Bach created the High Mass in B minor and the St. Matthew Passion, receiving from the court the title of Royal Polish and Saxon court composer as a reward for his creativity.
In 1747, Johann Bach visited the court of King Frederick II of Prussia. The nobleman offered the composer musical theme and asked me to write an improvisation. Bach, a master of improvisation, immediately composed a three-part fugue. He soon supplemented it with a cycle of variations on this theme, called it a “Musical Offering” and sent it as a gift to Frederick II.
Another large cycle, called “The Art of Fugue,” was not completed by Johann Bach. The sons published the series after their father's death.
IN last decade the composer's glory faded: classicism flourished, contemporaries considered Bach's style old-fashioned. But young composers, brought up on the works of Johann Bach, revered him. The work of the great organist was also loved.
A surge of interest in the music of Johann Bach and a revival of the composer's fame began in 1829. In March, pianist and composer Felix Mendelssohn organized a concert in Berlin, where the work “St. Matthew Passion” was performed. An unexpectedly loud response followed, and the performance attracted thousands of spectators. Mendelssohn went with concerts to Dresden, Koenigsberg and Frankfurt.
Johann Bach’s work “A Musical Joke” is still one of the favorites of thousands of performers around the world. Playful, melodic, gentle music sounds in different variations, adapted for playing modern instruments.
Bach's music is popularized by Western and Russian musicians. Vocal ensemble The Swingle Singers released their debut album Jazz Sebastian Bach, which brought the group of eight vocalists world fame and a Grammy Award.
Processed the music of Johann Bach and jazz musicians Jacques Lussier and Joel Spiegelman. I tried to pay tribute to the genius Russian performer.
Personal life
In October 1707, Johann Sebastian Bach married his young cousin from Arnstadt, Maria Barbara. The couple had seven children, but three died in infancy. Three sons - Wilhelm Friedemann, Carl Philipp Emmanuel and Johann Christian - followed in their father's footsteps and became famous musicians and composers.
In the summer of 1720, when Johann Bach and the Prince of Anhalt-Köthen were abroad, Maria Barbara died, leaving four children.
The composer’s personal life improved a year later: at the Duke’s court, Bach met a young beauty and talented singer Anna Magdalena Wilke. Johann married Anna in December 1721. They had 13 children, but 9 outlived their father.
IN advanced years family turned out to be the only consolation for the composer. Johann Bach composed for his wife and children vocal ensembles, organized chamber concerts, enjoying the songs of his wife (Anna Bach had a beautiful soprano) and the playing of her grown-up sons.
The fate of Johann Bach's wife and youngest daughter was sad. Anna Magdalena died ten years later in a house of contempt for the poor, and the youngest daughter Regina eked out a semi-beggarly existence. In the last years of her life, Ludwig van Beethoven helped the woman.
Death
In the last 5 years, Johann Bach's vision rapidly deteriorated, but the composer composed music, dictating works to his son-in-law.
In 1750, British ophthalmologist John Taylor arrived in Leipzig. The doctor’s reputation can hardly be called impeccable, but Bach grasped at straws and took a chance. After the operation, the musician’s vision did not return. Taylor operated on the composer a second time, but after a short-term return of vision, deterioration occurred. On July 18, 1750, there was a stroke, and on July 28, 65-year-old Johann Bach died.
The composer was buried in Leipzig in a church cemetery. The lost grave and remains were found in 1894 and reburied in a stone sarcophagus in the Church of St. John, where the musician served for 27 years. The temple was destroyed by bombing during World War II, but the ashes of Johann Bach were found and transferred in 1949, buried at the altar of the Church of St. Thomas.
In 1907, a museum was opened in Eisenach, where the composer was born, and in 1985 a museum appeared in Leipzig.
- Johann Bach's favorite pastime was visiting provincial churches dressed as a poor teacher.
- Thanks to the composer church choirs both men and women sing. Johann Bach's wife became the first church choir member.
- Johann Bach did not take money for private lessons.
- The surname Bach is translated from German as “stream”.
- Johann Bach spent a month in prison for constantly asking for resignation.
- George Frideric Handel is a contemporary of Bach, but the composers did not meet. The fates of the two musicians are similar: both went blind as a result of an unsuccessful operation performed by the quack doctor Taylor.
- A complete catalog of Johann Bach's works was published 200 years after his death.
- A German nobleman ordered the composer to write a piece, after listening to which he would be able to fall into a deep sleep. Johann Bach fulfilled the request: the famous Goldberg Variations are still a good “sleeping pill”.
Aphorisms of Bach
- “To get a good night's sleep, you should go to bed on a different day than you need to wake up.”
- “Playing the keyboard is easy: you just need to know which keys to press.”
- “The purpose of music is to touch hearts.”
Discography
- "Ave Maria"
- "English Suite N3"
- "Brandenburg Concert N3"
- "Italian Influence"
- "Concert N5 F-Minor"
- "Concert N1"
- "Concerto for cello and orchestra D-Minor"
- "Concerto for flute, cello and harp"
- "Sonata N2"
- "Sonata N4"
- "Sonata N1"
- "Suite N2 B-Minor"
- "Suite N2"
- "Suite for Orchestra N3 D-Major"
- "Toccata and Fugue D-Minor"
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 musical art 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 life. musical life, they were often led by famous professional musicians. For most of the year, the College of Music gave 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 known works is assigned a BWV number (short for Bach Werke Verzeichnis - catalog of Bach's works). Bach wrote music for different instruments, both spiritual and secular.
During his life, Bach was best known as a first-class organist, teacher and composer organ music. He worked both in the “free” genres traditional for that time, such as prelude, fantasy, toccata, and in more strict forms - chorale prelude and fugue. In his works for organ, Bach skillfully combined features of different musical styles, with whom he became acquainted throughout his life. The composer was influenced by both the music of Northern German composers (Georg Böhm, Dietrich Buxtehude) and the music of Southern composers. Bach copied the works of many French and Italian composers for himself in order to understand them musical language, later he even arranged several Vivaldi violin concertos for organ. During the most fruitful period for organ music (1708-1714), Johann Sebastian not only wrote many pairs of preludes and fugues and toccatas and fugues, but also composed the unfinished “Organ Book” - a collection of 46 short choral preludes, which demonstrated various techniques and approaches to composing works on chorale themes. After leaving Weimar, Bach began to write less for organ, nevertheless, after Weimar many were written famous works(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. Majority keyboard works Bach, 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. 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 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, and also large number 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 execution big orchestra, and some with just a few tools. 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.”
“The Passion According to John” (1724) and “The Passion According to Matthew” (c. 1727) are works for choir and orchestra on the gospel theme of the suffering of Christ, intended for performance at vespers on Good Friday in the churches of St. Thomas and St. Nicholas. The Passions are one of Bach's most ambitious vocal works. It is known that Bach wrote 4 or 5 passions, but only these two have survived completely to this day.
The most famous is the "Christmas Oratorio" (1734) - a cycle of 6 cantatas for performance during the Christmas period of the liturgical year. The Easter Oratorio (1734-1736) and the Magnificat are rather extensive and elaborate cantatas and have a smaller scope than the Christmas Oratorio or Passions. The Magnificat exists in two versions: the original (E-flat major, 1723) and the later and more famous (D major, 1730).
Bach's most famous and significant mass is the Mass in B minor (completed in 1749), which is a complete cycle of the Ordinary. This mass, like many other works of the composer, included revised early writings. 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.
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.
May this sign complete our story of life and short essay works of the great Bach:
A BRIEF LIST OF WORKS BY J. S. BACH
Vocal- instrumental works: about 300 spiritual cantatas (199 preserved); 24 secular cantatas (including “Hunting”, “Coffee”, “Peasant”); motets, chorales; Christmas Oratorio; “John Passion”, “Matthew Passion”, “Magnificat”, Mass in B minor (“High Mass”), 4 short masses.
Arias and songs - from the second Notebook of Anna Magdalena Bach.
For orchestra and orchestra with solo instruments:
6 Brandenburg Concertos; 4 suites (“overtures”); 7 concertos for harpsichord (clavier) and orchestra; 3 concertos for two harpsichords and orchestra; 2 concertos for three harpsichords and orchestra; 1 concert for four harpsichords and orchestra; 3 concertos for violin and orchestra; concert for flute, violin and harpsichord.
Works for violin, cello, flute with clavier (harpsichord) and solo: 6 sonatas for violin and harpsichord; 6 sonatas for flute and harpsichord; 3 sonatas for viola da gamba (cello) and harpsichord; trio sonatas; 6 sonatas and partitas for solo violin; 6 suites (sonatas) for solo cello.
For clavier (harpsichord): 6 “English” suites; 6 “French” suites; 6 parts; Chromatic fantasy and fugue; Italian concert; Well-Tempered Clavier (2 volumes, 48 preludes and fugues); Goldberg Variations; Inventions for two and three voices; fantasies, fugues, toccatas, overtures, capriccios, etc.
For organ: 18 preludes and fugues; 5 toccatas and fugues; 3 fantasies and fugues; fugues; 6 concerts; Passacaglia; pastoral; fantasies, sonatas, canzones, trios; 46 chorale preludes (from Wilhelm Friedemann Bach's Organ Book); "Schubler chorales"; 18 chorales (“Leipzig”); several cycles of chorale variations.
Musical offering. The art of fugue.
MAIN LIFE DATES
1685, March 21 (Gregorian calendar March 31) Johann Sebastian Bach, the son of the city musician Johann Ambrose Bach, was born in the Thuringian city of Eisenach.
1693-1695 - Studying at school.
1694 - Death of mother, Elisabeth, née Lemmerhirt. Father's remarriage.
1695 - Death of father; moving to his elder brother Johann Christoph in Ohrdruf.
1696 - early 1700- Studying at the 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. October 17- 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. March 26- First performance of the St. John Passion. May- Taking office as cantor of St. Thomas and the school teacher.
1729, February- Performing the “Hunting Cantata” in Weissenfels, receiving the title of court Kapellmeister of Saxe-Weissenfels. April 15- First performance of the St. Matthew Passion in the Thomaskirche. Disagreements with the Thomasshule council and then with the magistrate over school practices. Bach leads the Telemann student circle, Collegium musicum.
1730, October 28- A letter to a former school friend G. Erdmann describing the unbearable circumstances of life in Leipzig.
1732 - Performance of “Coffee Cantata”. June 21- Birth of the son Johann Christoph Friedrich (the future “Bückeburg Bach”).
1734, end of December- Performance of the “Christmas Oratorio”.
1735, June- Bach with his son Gottfried Bernhard in Mühlhausen. The son passes the test for the position of organist. September 5 the last son, Johann Christian (the future “London Bach”) was born.
1736 - Beginning of a two-year “struggle for the prefect” with the rector Tomashule I. Ernesti. November 19 A decree was signed in Dresden conferring the title of royal court composer on Bach. Friendship with the Russian ambassador G. Keyserling. December 1- A two-hour concert in Dresden on the Silbermann organ.
1738, April 28 - « Night music"in Leipzig. Bach completes the composition of the High Mass.
1740 - Bach ceases to direct the “Music Collegium”.
1741 - In the summer, Bach visited his son Emmanuel in Berlin. Trip to Dresden.
1742 - Publication of the last, fourth volume of “Exercises for the Clavier”. August 30- Performance of “Peasant Cantata”.
1745 - Testing of a new organ in Dresden.
1746 - Son Wilhelm Friedemann becomes director of urban music in Halle. Bach's trip to Zshortau and Naumberg.
1749, January 20- Engagement of daughter Elisabeth to Bach's student Altnikol. The beginning of the essay "The Art of Fugue". In summer- Illness, blindness. Johann Friedirch enters the Bückeburg Chapel.
1750, January- Unsuccessful eye surgeries, complete blindness. Composing counterpoints of “The Art of Fugue” and fugue on theme B-A-S-N. Completion of processing of chorales.
WITH early years Bach felt the organ field was his calling and tirelessly studied the art of organ improvisation, which was the basis of his compositional skills. As a child, in his native Eisenach, he listened to his uncle play the organ, and then, in Ohrdruf, his brother. In Arnstadt, Bach himself began to work as an organist, and undoubtedly, already there he tried to compose for the organ, although his choral arrangements, which confused the Arnstadt parishioners with their unusualness, have not reached us. The composer also served as an organist in Weimar, where his original organ style was fully formed. As you know, it was during the Weimar years that exceptional activity occurred in the field of Bach’s organ creativity - most of the organ works were created: Toccata and Fugue in d-moll, Toccata, adagio and fugue in C-dur, Prelude and Fugue in a-moll, Fantasia and Fugue in g-moll , Passacaglia c-moll and many others. Even when, due to circumstances, the composer switched to another job, he did not part with his portable organ. We must not forget that Bach’s oratorios, cantatas, and passions were played in the church, accompanied by an organ. It was through the organ that Bach was known to his contemporaries. He achieved the highest perfection in organ improvisations, stunning everyone who could hear him. The famous organist Jan Reincken, already in his declining years, heard Bach play and said: “I thought that this art had died long ago, but now I see that it lives in you!”
Main features of the organ style
In Bach's era, the organ was the “king of all instruments” - the most powerful, full-sounding and colorful. It sounded under the spacious vaults of church cathedrals with their spatial acoustics. Organ art was addressed to the broad masses of listeners, hence such qualities of organ music as oratorical pathos, monumentality, and concert performance. This style required extensive forms and virtuosity. Organ works are similar to monumental (fresco) painting, where everything is presented in close-up. It is not surprising that Bach created the most majestic instrumental works specifically for the organ: Passacaglia in C-moll, Toccata, adagio and fugue in C-dur, Fantasia and fugue in G-moll and others.
Traditions of German organ art. Chorale preludes.
Bach's organ art grew on rich soil, because it was German masters who played the most important role in the development of organ music. In Germany, organ art has reached an unprecedented scale, and a whole galaxy of wonderful organists has emerged. Bach had a chance to hear many of them: in Hamburg - J. Reincken, in Lubeck - D. Buxtehude, who was especially close to Bach. From his predecessors he adopted the main genres of German organ music - fugue, toccata, chorale prelude.
IN organ creativity Bach can be distinguished into 2 genre varieties:
- chorale preludes , as predominantly small compositions;
- "small" polyphonic cycles , as works of large form. They consist of some kind of introductory piece and a fugue.
Bach wrote more than 150 chorale preludes, most of which are contained in 4 collections. A special place among them is occupied by the “Organ Book” - the earliest (1714-1716), consisting of 45 arrangements. Later, the collection “Keyboard Exercises” appeared, including 21 arrangements, some of which were designed for organ performance. The next collection - of 6 pieces - is known as the “Schubler chorales” (named after the publisher and organist Schubler, a student of Bach). The composer prepared the last collection of choral arrangements - “18 chorales” - for publication shortly before his death.
With all the diversity of Bach's chorale preludes, they are united by:
- small scale;
- dominance of the melodic beginning, since the genre of choral arrangement is associated with vocal melodies;
- chamber style. In the chorale preludes, Bach emphasized not the enormous resources of the powerful organ sound, but its colorfulness and timbre richness;
- widespread use of polyphonic techniques.
The range of images of chorale preludes is associated with the content of the underlying chorales. In general, these are examples of Bach's philosophical lyrics, reflections on man, his joys and sorrows.
Prelude in Es major
Her music has a majestic, calm, enlightened character, developing smoothly and leisurely. The theme of the chorale is quite monotonous in rhythmic and melodic terms. It is based on movement along stable steps of the scale with multiple repetitions of one sound. However, Bach begins his prelude not with a chorale melody, but with his own theme - more melodious, flexible and moving, and at the same time akin to the chorale.
As it develops, this theme is continuously enriched intonationally and rhythmically. Widely chanted phrases appear in it, and the range expands. Along with this, instability in it intensifies, the motif of a sigh is repeated sequentially, which becomes a means of intensifying expression.
The tonal plan of the prelude covers related flat keys. The tonal development is directed from light major colors to a darker minor color in the middle, and then to the return of the original light sound.
The sparse, clear texture of the prelude is based on two main melodic lines, far apart from each other (this creates a feeling of spatial breadth). The middle voices, where the theme of the chorale is stated, are included later and also have melodic independence.
Prelude in f minor
(“I call upon you, Lord”)
In this prelude, the melody of the chorale is placed in the upper voice; it dominates, determining the entire appearance of the work. Bach is responsible for harmonizing the melody and creating the texture of the accompaniment.
The theme of the chorale is songlike, based on smooth soft intonations. Rhythmic monotony, emphasized by the smooth movement of the bass, gives the music rigor and composure. The main mood is deep concentration, sublime sadness.
The texture clearly distinguishes three levels: the upper voice (the theme of the chorale itself, the sound of which in the middle register resembles singing), the bass line and the middle voice - intonationally very expressive and rhythmically mobile. 2-part form. The first section is clearly divided into sentences and ends with a clear cadence. The second develops more continuously.
Two-part polyphonic cycles
Two-part compositions, consisting of some kind of introductory piece (prelude, fantasy, toccata) and fugue, were already found among composers of the pre-Bakhov generation, but then they were the exception rather than the rule, a pattern. Either independent, unrelated fugues, toccatas, fantasies, or one-part compositions predominated mixed type. They freely combined prelude-improvisation and fugue episodes. Bach broke this tradition by distinguishing contrasting spheres in two individual, but organically interconnected parts of the polyphonic cycle. The first part concentrated a free, improvisational element, while the second - a fugue - was strictly organized. Musical development in a fugue it always obeys the laws of logic and discipline and flows in a strictly defined “channel”. Well-thought-out system compositional techniques The fugue had already taken shape before Bach, in the work of his predecessors - German organists.
The introductory parts of the polyphonic cycle did not have such a “assignment”. They were developed in the practice of free foreplay on the organ, that is, they differed improvisational nature - complete freedom in expressing emotions. They are characterized by:
- “general forms” of movement - virtuosic passages, harmonic figurations, that is, movement according to the sounds of chords;
- sequential development of small melodic cells;
- free change of pace, episodes of different nature;
- bright dynamic contrasts.
Each polyphonic cycle by Bach has its own unique appearance and individual artistic solution. The general and mandatory principle is harmonious unity of its two constituent parts. This unity is not limited to the general tonality. So, for example, in the most popular Bach organ cycle - Toccata and Fugue d-moll- the unity of the composition follows from the multilateral internal connections of the toccata and fugue.
The music of the toccata gives the impression of powerful force and rebellion. The majestic pathos captivates from the very first sounds introductions- small, but very effective, setting the tone for everything that follows. The opening theme begins, as it were, immediately with the culmination (“top-source”), on ff, in a powerful organ unison. It is based on declamatory, oratorical, appealing intonations, which, thanks to strong sonority and meaningful pauses, sound very impressive.
The same intonations underlie fugue themes- descent along the scale of a minor scale from the V degree to the leading tone. Thanks to the non-stop ostinato running of 16th notes, fugue music has an active, energetic, motor character. Its theme also has a clear similarity with the second section of the toccata - the presence of hidden two-voices, repeated repetition of the sound “A”, and the same rhythmic pattern. Essentially, both themes are perceived as two variants of the same thematic material (the theme of the fugue is a mirror image of the 2nd section of the toccata).
In more close-up the unity of toccata and fugue lies in the very cycle compositions. The culmination of the entire work is the final section of the fugue - a large coda of a pathetic nature. Here the images of the toccata return, and polyphonic techniques give way to homophonic-harmonic ones. Massive chords and virtuosic passages sound again. Thus, in the cycle there is a feeling of tripartiteness (toccata - fugue - toccata coda).
In addition, the d minor fugue has another feature that emphasizes its relationship with the toccata - the abundance of interludes. Interludes mainly consist of “broken” chords and their sequential development. Thanks to this polyphonic style The fugue somewhat approaches the homophonic-harmonic, echoing the improvisational style of the toccata.
The combination of two parts of a polyphonic cycle may not be based on kinship, but, on the contrary, on a bright contrasting comparison of them musical images. This is how, for example, the g-moll organ cycle is built.
Fantasia and fugue g-moll
Music fantasy its origins are connected with the harsh and majestic images of Bach’s choral works - his B minor Mass or passions. It compares two contrasting emotional spheres. The first is tragic. The combination of powerful chords with a single-voice recitative in a tense tessitura is similar to the alternation of a choir with a solo voice. Musical development takes place in an atmosphere of increasing tension. Thanks to the organ section, sharply unstable, dissonant chords arise, recitative phrases are gradually more and more saturated with drama.
The second theme is the opposite of the first in all its components. Against the backdrop of measuredly calm moves of the lower voice, the upper voices imitate a small lyrical chant based on a diminished triad. Minor scales and softness of sound give the music a touch of sublime detachment. It ends thoughtfully and sadly with a descending second intonation.
Almost the entire further continuation of the fantasy is occupied by the complex development of the first theme. The drama of the overall sound is aggravated by a brief reprise of the second theme, raised to a higher register.
The tragedy of fantasy is opposed by energy and activity fugues. It is distinguished by its dance character and obvious connections with everyday life. secular music. The closeness to the folk genre's origins is manifested, in particular, in the reprise structure of the theme, its completeness, and the periodicity of rhythmic accents. The theme is distinguished by wide, “brisk” leaps of fifths and octave, which, in combination with a springy, elastic rhythm, create a very dynamic image. The energy of movement is also supported by modal tonal development: the tonic and dominant of the main key are compared with the tonic and dominant of the parallel major.
The fugue form is based on a reprise tripartite. The first part consists of exposition and counter-exposition, followed by a large middle development part and an abbreviated reprise. Each theme is preceded by extensive interludes.
A huge internal contrast also distinguishes the organ cycle in C major, the composition of which is expanded by including another, 3rd, movement.
Toccata, adagio and fugue in C major
The line of figurative development is directed here from the majestic pathos of the toccata to the sublime lyricism of Adagio, then to the powerful Grave (the final section of Adagio) and, finally, to the dance dynamics of the fugue.
Basic principle of construction toccatas- improvisation. It consists of several relatively complete sections, which differ from each other in the type of melodic movement (these are either virtuoso passages, or sequential development of small melodic turns, or chord figuration - movement along the sounds of chords). At the same time, there is a clear unifying logic in the toccata: a steady increase from beginning to end - the final majestic peak. It is achieved by a gradual increase in overall sonority, thickening the texture (due to the branching of voices, their roll calls in different registers). At the last stage of this movement, the lowest sounds of the organ - the organ pedal - come into play.
IN Adagio everything is in contrast to the toccata: minor key (parallel A-moll), intimate sounding - in the spirit of choral preludes, the same type of texture throughout (leading voice and accompaniment), homogeneous thematic, lack of virtuoso brilliance, bright climaxes. Throughout the Adagio, a mood of deep concentration is maintained.
The final 10 bars of the Adagio are dramatically different from everything that came before. The character of the music here becomes majestic and solemn.
Large 4-voice fugue written written on a topic of wide extent. It is diatonic, based on dance rhythms, which, in combination with the 6/8 time signature, give the music a resemblance to a gigue. The theme is carried out 11 times: 7 times in exposition, 3 times in development and 1 time in reprise. Thus, much of the development is taken up by interludes.
The free form of the toccata consists of several episodes, clearly demarcated from one another. Differing in texture, dynamic, register, they are related:
- a mood of majestic pathos;
- a steady increase in dramatic tension, reaching its highest intensity at the conclusion of the toccata;
- by the nature of the theme.
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) - 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.
