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PDF generated using the open source mwlib toolkit. PDF generated at: Thu, 04 Nov UTC. Revered for their intellectual depth, technical command and artistic beauty, Bach's works include the Brandenburg concertos, the Goldberg Variations, the Partitas, The Well-Tempered Clavier, the Mass in B Minor, the St Matthew Passion, the St John Passion, the Magnificat, The Musical Offering, The Art of Fugue, the English and French Suites, the Sonatas and Partitas for solo violin, the Cello Suites, more than surviving cantatas, and a similar number of organ works, including the celebrated Toccata and Fugue in D minor and Passacaglia and Fugue in C minor.
Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded one of the main composers of the Baroque style, and as one of the greatest composers of all time. Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 31 March O. He was the youngest child of Johann Ambrosius Bach, the director of the Stadtpfeifer or town musicians, and Maria Elisabeth Lämmerhirt. His father taught him to play violin and harpsichord. One uncle, Johann Christoph Bach —93 , was especially famous and introduced him to the art of organ playing. Bach was proud of his family's musical achievements, and around he drafted a genealogy, "Origin of the musical Bach family".
Bach exposed him to the works of the great Johann Ambrosius Bach, Bach's father South German composers of the day, such as Johann Pachelbel under whom Johann Christoph had studied  and Johann Jakob Froberger; possibly to the music of North German composers; to Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais; and to the Italian clavierist Girolamo Frescobaldi. The young Bach probably witnessed and assisted in the maintenance of the organ music. Bach's obituary indicates that he copied music out of Johann Christoph's scores, but his brother had apparently forbidden him to do so, possibly because scores were valuable and private commodities at the time. At the age of 14, Bach, along with his older school friend George Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in Lüneburg, not far from the northern seaport of Hamburg, one of the largest cities in the Holy Roman Empire. His two years there appear to have been critical in exposing him to a wider palette of European culture than he would have experienced in Thuringia. In addition to singing in the a cappella choir, it is likely that he played the School's three-manual organ and its harpsichords. He probably learned French and Italian, and received a thorough grounding in theology, Latin, history, geography, and physics.
He would have come into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in diplomacy, government, and the military. Although little supporting historical evidence exists at this time, it is almost certain that while in Lüneburg, young Bach would have visited the Johanniskirche Church of St. John and heard and possibly played the church's famous organ built in by Jasper Johannsen and nicknamed the "Böhm organ" after its most prominent master, Georg Böhm. Given his innate musical talent, Bach would have had significant contact with prominent organists of the day in Lüneburg, most notably Böhm the organist at Johanniskirche as well as organists in nearby Hamburg, such as Johann Adam Reincken. Arnstadt to Weimar —08 In January , shortly after graduating and failing an audition for an organist's post at Sangerhausen, Bach took up a post as a court musician in the chapel of Duke Johann Ernst in Weimar, a large town in Thuringia. His role there is unclear, but appears to have included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboard player spread. He was invited to inspect and give the inaugural recital on the new organ at St.
Boniface's Church in Arnstadt. Boniface's Church in Arnstadt wide range of keys to be used. At this time, Bach was embarking on the serious composition of organ preludes; these works, in the North German tradition of virtuosic, improvisatory preludes, already showed tight motivic control in which a single, short music idea is explored cogently throughout a movement. In these works the composer had yet to fully develop his powers of large-scale organisation and his contrapuntal technique in which two or more melodies interact simultaneously. Strong family connections and a musically enthusiastic employer failed to prevent tension between the young organist and the authorities after several years in the post. He was apparently dissatisfied with the standard of singers in the choir; more seriously, there was his unauthorised absence from Arnstadt for several months in —06, when he visited the great master Dieterich Buxtehude and his Abendmusik in the northern city of Lübeck.
This well-known incident in Bach's life involved his walking some kilometres mi each way to spend time with the man he probably regarded as the father figure of German organists. The trip reinforced Buxtehude's style as a foundation for Bach's earlier works, and that he overstayed his planned visit by several months suggests that his time with the old man was of great value to his art. According to legend, both Bach and George Frideric Handel wanted to become amanuenses of Buxtehude, but neither wanted to marry his daughter, as that was a condition for the position. Johann Sebastian Bach, organist here at the New Church, appeared and stated that, as he walked home yesterday, fairly late night He [Bach] answered that he had made no abusive remarks about him, and that no one could prove it, for he had gone his way very quietly. Geyersbach retorted that while he [Bach] might not have maligned him, he had maligned his bassoon at some time, and whoever insulted his belongings insulted him as well Since he had not been prepared for this, he had been about to draw his dagger, but Geyersbach had fallen into his arms, and the two  of them tumbled about until the rest of the students Despite his comfortable position in Arnstadt, by Bach appeared to have realised that he needed to escape from the family milieu and move on to further his career. He was offered a more lucrative post as organist at St. Blasius's in Mühlhausen, a large and important city to the north.
The following year, he took up this senior post with significantly improved pay and conditions, including a good choir. Four months after arriving at Mühlhausen, he married his second cousin from Arnstadt, Maria Barbara Bach. They had seven children, four of whom survived to adulthood. Two of them—Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach—became important composers in the ornate Rococo style that followed the Baroque. The church and city government at Mühlhausen agreed to his plan for an expensive renovation of the organ at St. Bach, in turn, wrote an elaborate, festive cantata —Gott ist mein König, BWV 71— for the inauguration of the new council in The council was so delighted with the piece that they paid handsomely for its publication, and twice in later years had the composer return to conduct it.
That same year, Bach was offered a better position in Weimar. Weimar —17 After barely a year at Mühlhausen, Bach left, to become the court organist and concertmaster at the ducal court in Weimar, a far cry from his earlier position there as 'lackey'. The munificent salary on offer at the court and the prospect of working entirely with a large, well-funded contingent of professional musicians may have prompted the move. The family moved into an apartment just five minutes' walk from the ducal palace. In the following year, their first child was born and they were joined by Maria Barbara's elder, unmarried sister, who remained with them to assist in the running of the household until her death in It was in Weimar that the two musically significant sons were born—Wilhelm Friedemann and Carl Philipp Emanuel Bach. Bach's position in Weimar marked the start of a sustained period of composing keyboard and orchestral works, in which he had attained the technical proficiency and confidence to extend the prevailing large-scale structures and to synthesise influences from abroad. From A portrait of a young man, supposedly of Bach, the music of Italians such as Vivaldi, Corelli and Torelli, he learned  but disputed how to write dramatic openings and adopted their sunny dispositions, dynamic motor-rhythms and decisive harmonic schemes.
Bach inducted himself into these stylistic aspects largely by transcribing for harpsichord and organ the ensemble concertos of Vivaldi; these works are still concert favourites. He may have picked up the idea of transcribing the latest fashionable Italian music from Prince Johann Ernst, one of his employers, who was a musician of professional calibre. In , the Duke returned from a tour of the Low Countries with a large collection of scores, some of them possibly transcriptions of the latest fashionable Italian music by the blind organist Jan Jacob de Graaf. Bach was particularly attracted to the Italian solo-tutti structure, in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.
In Weimar, he had the opportunity to play and compose for the organ, and to perform a varied repertoire of concert music with the duke's ensemble. A master of contrapuntal technique, Bach's steady output of fugues began in Weimar. The largest single body of his fugal writing is Das wohltemperierte Clavier "The well-tempered keyboard"—Clavier meaning keyboard instrument. During his tenure at Weimar, Bach started work on the "Little Organ Book" for his eldest son, Wilhelm Friedemann; this contains traditional Lutheran chorales hymn tunes , set in complex textures to assist the training of organists. The book illustrates two major themes in Bach's life: his dedication to teaching and his love of the chorale as a musical form. Bach eventually fell out of favour in Weimar and was, according to the court secretary's report, jailed for almost a month before being unfavourably dismissed:. On November 6, , the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too  stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.
Köthen —23 Bach began once again to search out a more stable job that was conducive to his musical interests. Leopold, Prince of Anhalt-Köthen hired Bach to serve as his Kapellmeister director of music. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; thus, most of Bach's work from this period was secular, including the Orchestral suites, the Six Suites for Unaccompanied Cello and the Sonatas and partitas for solo violin. The well-known Brandenburg concertos date from this period. Johann Sebastian Bach On 7 July , while Bach was abroad with Prince Leopold, tragedy struck: his wife, Maria Barbara, the mother of his first 7 children, died suddenly. The following year, the widower met Anna Magdalena Wilcke, a young, highly gifted soprano 17 years his junior, who performed at the court in Köthen; they married on 3 December Leipzig —50 In , Bach was appointed Cantor of Thomasschule, adjacent to the Thomaskirche St.
Thomas's Lutheran Church in Leipzig, as well as Director of Music in the principal churches in the town. Apart from his brief tenures in Arnstadt and Mühlhausen, this was Bach's first government position in a career that had mainly involved service to the aristocracy. This final post, which he held for 27 years until his death, brought him into contact with the political machinations of his employer, the Leipzig Council.
The Council comprised two factions: the Absolutists, loyal to the Saxon monarch in Dresden, Augustus the Strong; and the City-Estate faction, representing the interests of the mercantile class, the guilds and minor aristocrats. Bach was the nominee of the monarchists, in particular of the Mayor at the time, Gottlieb Lange, a lawyer who had earlier served in the Dresden court. In return for Commemorative statue of J. Bach in Leipzig agreeing to Bach's appointment, the City-Estate faction was granted control of the School, and Bach was required to make a number of compromises with respect to his working conditions. The Council never honoured Lange's promise at interview of a handsome salary of 1, talers a year, although it did provide Bach and his family with a smaller income and a good apartment at one end of the school building, which was renovated at great expense in Bach's job required him to instruct the students of the Thomasschule in singing and to provide weekly music at the two main churches in Leipzig, St. Thomas and St Nicholas. His post obliged him to teach Latin, but he was allowed to employ a deputy to do this instead. In an astonishing burst of creativity, he wrote up to five annual cantata cycles during his first six years in Leipzig two of which have apparently been lost.
To rehearse and perform these works at St. Thomas Church, Bach probably sat at the harpsichord or stood in front of the choir on the lower gallery at the west end, his back to the congregation and the altar at the east end. He would have looked upwards to the organ that rose St. Thomas Church, Leipzig, in the 21st century from a loft about four metres above. To the right of the organ in a side gallery would have been the winds, brass and timpani; to the left were the strings. The Council provided only about eight permanent instrumentalists, a source of continual friction with the Cantor, who had to recruit the rest of the 20 or so players required for medium-to-large scores from the University, the School and the public.
The organ or harpsichord was probably played by the composer when not standing to conduct , the in-house organist, or one of Bach's elder sons, Wilhelm Friedemann or Carl Philipp Emanuel. Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets, mostly for double choir. Having spent much of the s composing cantatas, Bach had assembled a huge repertoire of church music for Leipzig's two main churches. He now wished to broaden his composing and performing beyond the liturgy.
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