Johann Sebastian Bach Works List of famous. Bach is eternal harmony

From the early years, Bahh felt the body at his vocation, the organ began, tirelessly studied the art of organ improvisation, which was the basis of his composer skill. Another child, in his native Eisenach, he listened to the game on the organ of his uncle, and then, in Ordruf - Brother. In Arnstadt Bach himself begins to work by the organist, and undoubtedly, already there is trying to compose for the organ, although its tempering, confused by Arnstadt parishioners with his unusualness, and did not reach us. In positions of the Organist, the composer served in Weimar, where his original organ style was fully formed. As you know, it is precisely on Weimar years that the majority of organic works are of exceptional activity - Most organic works are created: Toccata and Fugue D-Moll, Toccat, Adagio and Fuga C-DUR, Prelude and Fugue A-Moll, Fantasy and Fuga G-Moll , Passacal C-Moll and many others. Even when, due to circumstances, the composer switched to another job, he did not part with the portable - a portable body. No need to forget that, accompanied by the organ, the Bakhovskih Orackes, Cantatians, Passati, sounded in the church. It was through the body Bach was known for his contemporaries. In organ improforvizations, he reached the highest perfection, shaking everyone who could hear it. The famous organist Yang Reynkenin, already on the slope of the years, having heard the game Baha, said: "I thought this art had long died, but now I see that it lives in you!"

The main features of the organ style

In the Bakhakh epoch, the authority was the "king of all tools" - the most powerful, solven, and colorful. He sounded under the spacious crops of church cathedrals with their spatial acoustics. Organ art has been drawn to the wide masses of the listeners, from here such qualities of organ music, like oratorical pathos, monumentality, concertness. Similar style requested unfolded forms, virtuosity. Organ works are similar to the monumental (fresco) painting, where everything is filed by a close-up. It is not surprising that the most magnificent instrumental works of Bach created precisely for the organ: C-Moll, Toccat, ADAGIO and C-DUR Foundation, Fantasy and Fugue G-Moll and others.

Traditions of German organ art. Chorable preludes.

Bach's organ art has grown on rich soil, because in the development of organ music, the German masters played the most important role. In Germany, organ art reached an unprecedented scope, a whole pleiad of wonderful organists was prompted. Many of them Bahão had a chairs: in Hamburg - Ya. Reinkenoe, in Lübeck - D. Buxtehude, who was especially close to Bahi. From his predecessors, he took the main genres of German organ music - Fugu, Toccatu, Choral Prelude.

In the organ creativity of the Bach, 2 genre varieties can be distinguished:

• chorable preludes as predominantly small compositions;
• "Small" polyphonic cycles like the works of a large form. They consist of any introductory play and fugues.

Bach wrote more than 150 choral preludes, most of whom were concluded in 4 collections. A special place among them is the "organ of a book" - the earliest (1714-1716), consisting of 45 treatments. Later, the Circuit Exercises Collection appeared, which includes 21 processing, some of which are designed for an organ execution. The next meeting - from 6 plays - known as the "Shubler Khoralov" (by the name of the publisher and the organist of the jewer, the student of the Baha). The last collection of choral treatments - "18 choralov" - the composer has prepared for print shortly before death.

With all the diversity of the Bahhovskih prelude, they are united:

• small scale;
• domination of the melodic principle, since the genre of choral processing is associated with vocal handles;
• chamber style. In choral preludes, Bach stressed not the huge resources of powerful organ sound, and its colorfulness, timbre wealth;
• wide use of polyphonic techniques.

The circle of the images of choral preludes is associated with the content of chorals underlying them. In general, these are samples of philosophical Bahukhovsky lyrics, reflections on man, his joys and sadness.

Prelude ES-DUR

Her music is a magnifying-calm, enlightened nature, develops smoothly and leisurely. The theme of the chorated is pretty monotony in rhythmic and melody. It is based on the movement on stable Lada steps with multiple repetitions of one sound. However, Bach begins its prelude not from the choral melody, but from its own topic - more in oblivion, flexible and mobile, and at the same time relative to Choral.

Developing, this topic is continuously enriched with intonation and rhythmically. It occurs widely frozen phrases, the range expands. Along with this, the instability is sharply in it, the motive of the breath is sequentially repeated, which becomes a means of injection expression.

The prelude tonal plan covers related chemical tonality. Ladotone development is directed from light major paints to a darker minor flavor in the middle, and then to return the original light sound.

Robust, clear texture of the prelude is based on two main melodic lines far behind apart (this creates a feeling of spatial latitude). Average voices where the theme of the Khorala is set on, later and also have melodic independence.

Prelude F-Moll

("I call you, Lord")

In this foreplay, the ringtone of the Choral is placed in the upper voice, it prevails, determining the entire appearance of the work. Bahu owns the harmonization of peaks and the creation of an accompaniment texture.

The theme of the chorable is characterized by a song, based on smooth soft intonations. Rhythmic monotony, emphasized by the smooth movement of bass, gives music a rigor and college. The main mood is deep concentration, elevated sadness.

In the invoice, three plan is clearly distinguished: the upper voice (actually the topic of the chorable, the sound of which on average register resembles singing), the bass line and the average voice is intonationally very expressive and rhythmically movable. Form 2-piece. The first section is clearly shaken on the sentence, ends with a clear cadence. The second develops more continuously.

Duplex polyphonic cycles

Duplex compositions, consisting of any introductory play (prelude, fantasy, tokkate) and fugues, have already met for composers of the added generation, but then they were the exception rather than the rule, regularity. They prevailed either independent, non-other fugues, toccats, fantasies, or one-piece compositions mixed type. They were freely combined by foreudition-improvisational and fugoked episodes. Bach violated this tradition, distinguishing the contrast spheres in two individualbut organic interconnectedparts of the polyphonic cycle. In the first part, the free, improvisational principle was concentrated, in the second - fugue - strictly organized. The musical development in a fugue always obeys the laws of logic and discipline, proceeds in a strictly defined "direction". The well-thought-out system of composite techniques of the Fugue was already to Bach, in the work of its predecessors - German organists.

The introductory parts of the polyphonic cycle of such a "assignment" did not have. They developed in the practice of free bidding on the body, that is, they differed improvisational Nature is complete freedom in expressing emotions. For them are characteristic:

• "Common forms" of movement - virtuoso passes, harmonic figures, that is, movement on the sounds of chords;
• sequenced development of small melodic cells;
• free shift of the pace, various in the nature of episodes;
• bright dynamic contrasts.

Each polyphonic cycle of Baha has its own unique appearance, an individual art decision. The general, and the obligatory principle is the harmonious unity of the two components of its parts. This unity is not limited to a general tonality. So, for example, in the most popular Bahukh authority cycle - Tokkate and Fouga d-Moll. - The unity of the composition follows from multilateral internal ties of the Toccati and Fugue.

Music Tokcaty gives the impression of mighty power, rebel. The greatest patience captures from the first sounds entry - A small, but very spectacular, asks the tone to everything further. The topic of entry begins as if immediately with the climax ("top source"), on FF, in a powerful organ unison. It is based on declamatory, oratory, invoked intonations, which, thanks to strong thanks and meaningful pauses, sound very impressive.

The same intonations underlie topics Fugue - Descent on the range of minor Lada from V stage to the introductory tone. Thanks to the non-stop winding run of the 16th, the fugue music has an active, energetic, engine. In her topic, there is an obvious similarity and with the second section of the Toccati - the presence of a hidden two-rope, repeating the sound "la", the same rhythmic pattern. In essence, both themes are perceived as two variants of a single thematic material (the theme of the Fugue is like a mirror reflection of the 2nd section of the Toccati).

In a larger, the unity of the Toccata and Fugue is laid in the most compositions cycles. The climax of all the work is the final section of the Fugue - a large pathetic code. Here are refined images of toccata, and polyphonic techniques are inferior to homoform-harmonic. Massive chords and virtuoso passes again. Thus, the cycle arises a feeling of three Persecution (Toccata - Fugue - Cocked Code).

In addition, in Fougal D-Moll there is another feature, emphasizing her relationship with Toccata - an abundance of intermedia. Intermedia mainly consist of "broken" chords, their sequentant development. Due to this, the polyphonic style of the Fugue is somewhat approaching the homophone-harmonic, error with the improvisational manner of the Toccati.

The combination of two parts of the polyphonic cycle may not be based on relationship, but on the contrary, on a bright contrast comparison of their musical images. So built, for example, a G-Moll organ cycle.

Fantasy and Fugue G-Moll

Music fantasy Its origins are connected with the harsh and majestic images of the choir essays Baha - his Si-minor Mass or Passiona. It compared two contrasting emotional spheres. The first is tragedy. The combination of mighty chords with a single-voice recitative in tense tessia is similar to alternating the choir with a soling voice. Musical development takes place in an atmosphere of increasing tension. Thanks to the organ point, there are sharply unstable, dissonant chords, recaptive phrases are gradually saturated with drama.

The second topic is the opposite of the first one. Against the background of measuringly calm moves of the lower voice, the upper voices imitate a small lyrical speaker based on the reduced sober. Minor's swollen, the softness of the sound give music to the shade of sublime absence. It ends thoughtfully and sadly downward second intonation.

Almost all further continuation of fantasy occupies a complex development of the first topic. The drama of the overall sound exacerbates a brief reprise of the second theme raised to a higher register.

Fantasy tragedy is withstanding energy and activity fugue. It is distinguished by dance character and explicit connections with household secular music. The proximity to the people's genre origins is manifested, in particular, in the reprisal structure of the topic, its completion, in the frequency of rhythmic accents. The topic highlighted broad, "firm" jumps on the quint, octave, which, in combination with spring elastic rhythm, create an image very dynamic. The movement energy maintains both ladhotonal development: tonic and dominant of the main tonality are compared with tonic and dominant parallel magazine.

Fuction shape relies on repusive three-parties. The first part is the exposure and counter-exposure, then a large average developing part and a reduced reprise. Each holding of the topic is preceded by the deployed intermediates.

A huge internal contrast is distinguished by the C-DUR organ cycle, the composition of which is expanded by inclusion of another, 3rd, part.

Toccata, Adagio and Fuga C-DUR

The line of figurative development is directed here from the magnitude of the Toccata patch to the sublime lyrics of ADAGIO, further to the powerful GRAVE (the final section of ADagio) and, finally, to the dance dynamics of the Fugue.

The main principle of construction toccata - improvisation. It consists of several relatively completed sections, which differ from each other with the type of melodic movement (this is either virtuoso passages, or the sequential development of small melodic revolutions, or the chord figuration - movement on chord sounds). At the same time, there is a clear unifying logic in Tokcat: steady increases from the beginning to the end - the final majestic vertex. It is achieved by the gradual increase in the overall sound, the seal of invoice (by branching the votes, their converters in different registers). At the last stage of this movement, the lowest sounds of the organ - organ pedal are included.

IN Adagio. Everything is contrasted in relation to the Tokcat: Minor tonality (parallel a-moll), sound intake - in the spirit of choral preludes, the same type of texture over the entire length (leading voice and maintenance), homogeneous thectic, lack of virtuoso brightness, bright climax attacks. On all over the Adagio, the mood of deep concentration is preserved.

The final 10 clocks ADagio differ sharply from the whole of the previous one. The nature of music becomes magnificent and solemn.

Large 4-voice fuga Written written on a wide length. It is diatonic, built on dance circulation, which, in combination with the size of 6/8, give music similarity to the gig. The topic is held 11 times: 7 times in the exposure, 3 - in development and 1 time in reprise. Thus, most of the development occupy intermediate.

The free shape of the Toccati consists of several episodes, clearly degraded one from the other. Differing in textured, dynamic, register, they are related:

• mood of magnitude patellic;
• steady increase in the dramatic voltage reaching the highest heat in the conclusion of the Toccati;
• by the nature of themed.

The German composer, an organist, who has served in churches of ceremonial German towns for many years and has not received genuine recognition during life. In the work of Baha, for the first time, it was manifested that it became characteristic of the German art of the following centuries: the desire for philosophical generalization of events and at the same time a subtle penetration into the world of the human soul.

Johann Sebastian Bach was born in 1685 in a small German town of Eisenach. Bach ancestors have long been famous for their musicality. It is known that the grandrades of the composer, the Bullman by profession, played the citre - a string musical instrument, remotely reminiscent of the harp. Fleetists, trumpeters, organists, violinists came out of the genus Bahkh. In the end, each musician in Germany began to call Bach and every Bach - a musician.

The first skills of the game on the violin boy received from the Father, the violinist and the city musician. Little Bach had an excellent voice (soprano) and sang in the chore of the city school. No one doubted his future profession: the boy was supposed to become a musician. Nine years old, the child remained orphan. His educator was the elder brother who served the church organist in the city of Ordrof. The brother identified the boy in the gymnasium and continued to train music.

Brother Baha rather coldly treated music: his classes were kept monotonous and boring and only tormented by an inventive ten-year-old boy who was forced to use any possibilities of self-education.

Honing that in the locked closet, brother keeps a notebook with the works of famous composers, the boy in secret took her at night and rewritten notes during the lunar light. This hard work lasted six months, and the vision of the future composer was badly damaged. What was the sadness of the child when the brother found him once behind this occupation and selected already rewritten notes!

Fifteen years from the genus Johann Sebastian decided to start an independent life - moved to Lüneburg to learn at the local gymnasium. Having finished it in 1703, the young man could enter the university, but circumstances made him take care of livelihoods.

In his century Bach, several times was forced to move from the city to the city in search of a new job. As a rule, it was forced to make it the same causes - a bench fee and a humiliating, dependent position. But, despite the burden of life, he never left the desire to improve his skills and the exhaustion of the Divine Dara. He was manile new knowledge - with tireless energy he studied music not only by German, but also Italian and French composers. He enjoyed any incident to bring personal acquaintance with outstanding musicians to explore the Maneru of their execution. It reached the fact that once, seeking such an acquaintance, but, without having money, the young Bach went to another city on foot to listen to the game of the famous organist Buxtehude.

The composer steadily defended his eyes and personal attitude towards creativity. With special love, Bach studied and widely used folk German songs in his works and dances, which went wrong with the worship of the court society in front of foreign music. The works of foreign composers were carefully studied at all for the purpose of blind imitation - extensive and deep knowledge helped him to improve and polish their own, original composer skill.

The composer genius of Baha during his lifetime was not recognized. However, the talent of the musician also manifested itself in another area - he was the best among his contemporaries by the performer on the authority and Clavesis. In improvisations for the body, his skill was unsurpassed, and even his rivals and ill-wishers were recognized.

Once Bach was invited to Dresden to participate in the competition with Louis Marshan - the French organist and Clavinistomist in the musical world. However, immediately after a preliminary acquaintance of the musicians, held on the eve and allowed Marshan to hear the fulfillment of the Bach, the French virtuoso had hurriedly left, thereby recognizing the indisputable superiority of the opponent. Another time, in the city of Kassel, Bach performed a solo to the pedals of the body, which was delighted and amazing connoisseurs of organ music ... Such successes did not circle his head, he always remained a modest and hardworking person, and on the question, as he managed to achieve such perfection , I invariably answered: "I had to work hard, who would also be diluted, reaches the same."

In 1708, Bach moved to Weimar, where he received the service of the court musician and the place of the city organist. It was the best period of the composer's creativity - it was in Weimar Bach that created the best organophones. Among them are such ambitious on their scale, most important on the content of the work, as the Toccata and Fugue of the Re Minor and the famous passagon of D Minor.

In 1717, Bach was invited to the court of Prince Ketensky and, together with his family, moved to the Kauset. Its obligations included to lead a small orchestra, accompany the pecia of the Prince and entertain him with the game on Clavesis. Since it was not very burdensome, Bach was easily cope with the work, and all his free time gave the work.

Unfortunately, in the curse there was no authority, which forced the composer to focus mainly on the composition of keyboarding and orchestral music. Written at this time, the work of the key is represented by the second (after organic works) the vertex in his work. In Kothene, two-voice and three-voice inventions were created - small fantasy musical plays (three-voice Inventions Bach called "symphony"). These plays composer created specifically for classes with his older son Wilhelm Friedem. With the same purpose, the "French" and "English" suite were created. In the Keten Bach ended the first volume of great work called "a well-tempered key" - it amounted to 24 preludes and fugues. At the same time, the most famous "chromatic fantasy and fantasy re minor" appeared.

In 1723, Bach moved to Leipzig. Under the church of St. Thomas existed a singing school, and here Bach took the position of Cantor - Head of Choir. However, these were not all his duties. He also had to provide the forces of the school to satisfy the musical needs of the main churches of the city and, in addition, to respond to the condition and quality of church music. In addition, Bach was forced to fulfill the prescriptions that shy his personal freedom. So, for example, he was forbidden "... to leave the city without permission of Mr. Burgomist."

Needless to say that the adoption of such conditions could not but limit his creative opportunities, especially since even what to write, he had strict instructions - he was prescribed to compose such music for the church that would not be too long as well. .. Operated, but to excite in listeners awe. " However, by sacrificing many, Bach never betrayed what he considered the main thing in life, - his beliefs of the artist and the Creator. It was this that allowed him throughout his life to create musical works, striking in shape, ambitious internal wealth.

Here in Leipzig, despite the constraint of the situation and restrictions imposed on his creative opportunities, Bahu managed to create its best vocal-instrumental compositions. It was here that he composed most of the 250 candes created by him, "Passion on John", "Passion for Matthew", Mass C Minor. "Passion on John" and "Matthew Passion" (or "Passiona") are musical narrations about the suffering and death of Jesus Christ, corresponding to the descriptions of the evangelists of John and Matthew. They are adjacent to the mass, close to "passions" in content. The source of these works was choral chants that sounded before in the Catholic Church. However, the music of the Bach goes far beyond the church service. It represents the monumental works of a concert nature, in the execution of soloists, choir, orchestra and organ. The artistic meaning of Cantat, "Passions" and Mass is invaluable. This is the third - and the highest - the top of the composer's creativity.

As before, the music of Bach could not satisfy the church bosses - it was too bright, colorful and humane. In essence, it was: this music was not only not answered by pious sentiments, but even clearly contradicted the atmosphere of strictness and deregistration from the whole earthly, which was imposed on the Catholic Church.

Creating large vocal and instrumental works, Bach finds time to write and key music. The famous "Italian concert" was composed of almost at the same time with Mesia. Later, Bach graduated from the second volume of the "well-tempered key" - it included new 24 preludes and fugues.

In Leipzig, there was a so-called "Music Board" - a society of music lovers, which arranged concerts of secular, not church music for residents of the city, and in its activities Bach, despite the huge creative work and official responsibilities in church school, also took an active part . In the concerts of the "Music College" Bach with great success performed as a soloist and conductor and especially for them wrote a lot of orchestral, keyboarding and vocal works of secular character.

Probably, it was one of the few perishes of his life. The main work of the Bach, associated with the leadership of the Singch school, brought him only grief and trouble. The church went to school meager funds, money was always lacking, boys singer's hungry, were poorly dressed. The level of their musical abilities also left much to be desired - the church authorities often gained singers, not at all with the opinion of Cantor. In vain, Bach turned to the urban authorities, urging to help at least in the equipment of the orchestra, which had only four pipes and four violins! .. The petitions about the help of school were out of attention, and the composer had to be responsible for everything.

The musician still found a reflection in the work and family. Bach's sons - Wilhelm Friedem, Philip Emmanuel, Johann Christians - grew up and turned out to be talented musicians. Bach managed to see how they become famous composers. Anna Magdalena Bach, the second wife of the composer, was also extremely musical, possessed beautiful, strong soprano and beautiful hearing. Good sang and eldest daughter Baha. For the closest people, for his family, Bach composed vocal and instrumental ensembles.

Serious eye disease was overshadowed by the last years of the composer's lifestyle, and after an unsuccessful operation of Bach Epole. It did not become an obstacle for his work - he continued to compose, and the music was recorded by someone from his loved ones under his dictation. In society, the death of Baha remained almost unchanged, and soon they forgot about him. The fate of his wife and the youngest daughter Baha developed sadly - ten years later, Anna Magdalena died in the House of Charity, and the daughter of Regina poured a bench existence. In the last years of her hard life, Beethoven helped her ...

Interest in the music of Bach, there was almost a hundred years after death, and the German composer Messelson played a huge role in this: in 1829, under his control, the greatest work of Bach was publicly performed - "Passion for Math". In Germany, the first meeting of the Bakhakh essays was also published. Music Bach sounds around the world in the performance of musicians of various nationalities and schools, still amazing skill and perfection, beauty and inspiration. "Not a stream! "The sea should be a name for him ..." "Great Beethoven said about Bakha.

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Content first Archive:

• 01. CONCERTO BRANDEBURGHESE N. 1 in Fa Maggiore BWV 1046_ Allegro.mp3
• 02.Concerto brandeburghese n. 2 in Fa Maggiore BWV 1047 - Allegro.mp3
• 03. Violin Concerto in A Minor BWV 1041 - Senza Indicazione Di TEMPO.MP3
• 04. Orchestral Suite №2 SI Minor BWV 1067 - Overture.mp3
• 05. CONCERTO BRANDEBURGHESE N. 1 in Fa Maggiore BWV 1046_ adagio.mp3
• 06.Concerto brandeburghese n. 2 in Fa Maggiore BWV 1047 - ANDANTE.MP3
• 07. Violin Concerto in A MINOR BWV 1041 - Andante.mp3
• 08. Orchestral Suite №2 SI Minor BWV 1067 - Rondo.mp3
• 09. CONCERTO BRANDEBURGHESE N. 1 in Fa Maggiore BWV 1046_ Allegro.mp3
• 10.Concerto brandeburghese n. 2 in Fa Maggiore BWV 1047 - Allegro Assai.mp3
• 11. Violin Concerto in A MINOR BWV 1041 - Allegro.mp3
• 12. Orchestral Suite №2 SI Minor BWV 1067 - Sarabanda.mp3
• 13. CONCERTO BRANDEBURGHESE N. 1 in Fa Maggiore BWV 1046_ Minuetto - Polacca.mp3
• 14.Concerto brandeburghese n. 4 in Sol Maggiore BWV 1049 - Allegro.mp3
• 15. Violin Concerto in E Major BWV 1042 - Allegro.mp3
• 16. Orchestral Suite №2 SI Minor BWV 1067 - Burre.mp3
• 17. CONCERTO BRANDEBURGHESE N. 3 in Sol Maggiore BWV 1048_ ALLEGRO Moderato.mp3
• 18.Concerto brandeburghese n. 4 in Sol Maggiore BWV 1049 - ANDANTE.MP3
• 19. Violin Concerto in E Major BWV 1042 - ADAGIO.MP3
• 20. Orchestral Suite №2 SI Minor BWV 1067 - Polonaise.mp3
• 21. CONCERTO BRANDEBURGHESE N. 3 in Sol Maggiore BWV 1048_ adagio.mp3
• 22.Concerto brandeburghese n. 4 in Sol Maggiore BWV 1049 - Presto.mp3
• 23. Violin Concerto in E Major BWV 1042 - Allegro Assai.mp3
• 24. Orchestral Suite №2 SI Minor BWV 1067 - Dubl.mp3
• 25. CONCERTO BRANDEBURGHESE N. 3 in Sol Maggiore BWV 1048_ Allegro.mp3
• 26.Concerto brandeburghese n. 5 in Re Maggiore BWV 1050 - Allegro.mp3
• 27. CONCERTO FOR VIOLIN AND OBOE IN C MINOR BWV 1060A - ALLEGRO.MP3
• 28. Orchestral suite №2 SI Minor BWV 1067 - MENUET.MP3
• 29.CONCERTO BRANDEBURGHESE N. 5 in Re Maggiore BWV 1050 - AffetTuoso.mp3
• 30. CONCERTO BRANDEBURGHESE N. 6 in Si Bemolle Magg. BWV 1051_ Allegro.mp3
• 31. CONCERTO FOR VIOLIN AND OBOE IN C MINOR BWV 1060A - ADAGIO.MP3
• 32. Orchestral Suite №2 SI Minor BWV 1067 - Joke.mp3
• 33.Concerto brandeburghese n. 5 in Re Maggiore BWV 1050 - Allegro.mp3
• 34. CONCERTO BRANDEBURGHESE N. 6 in Si Bemolle Magg. BWV 1051_ Adagio Ma non.mp3
• 35. CONCERTO FOR VIOLIN AND OBOE IN C MINOR BWV 1060A - ALLEGRO.MP3
• 36. Prelude and Fugue to Minor BWV 546.mp3
• 37. CONCERTO BRANDEBURGHESE N. 6 in Si Bemolle Magg. BWV 1051_ Allegro.mp3
• 38. CONCERTO FOR HARPSICHORD AND STRINGS IN E MAJOR BWV 1053 - SENZA INDICAZIONE .... MP3
• 39. Prelude and Fuga Minor BWV 548.mp3
• 40. CONCERTO FOR HARPSICHORD AND STRINGS IN E MAJOR BWV 1053 - SICILIANA.MP3
• 41. Canonical Variations BWV 769.mp3
• 42. CONCERTO FOR HARPSICHORD AND STRINGS IN E MAJOR BWV 1053 - ALLEGRO.MP3

Content second Archive:

• 01-Friedrich Tilegant & Das SitestDeutsche Kammerorchester J. S. Bach - Zweites Brandenburgisches Konzert (BWV 1047) - Allegro.mp3
• 02-Friedrich Tilegant & Das Sitestdeutsche Kammerorchester J. S. Bach - Zweites Brandenburgisches Konzert (BWV 1047) - ANDANTE.MP3
• 03-Friedrich Tilegant & Das Sitestdeutsche Kammerorchester J. S. Bach - Zweites Brandenburgisches Konzert (BWV 1047) - Allegro Assai.mp3
• 04-Knabenchor & Jugendchor St. Michaelis & Die Hamburger Symphoniker J. S. Bach - Eingangschor Aus Dem Weihnachts-Oratorium - Jauchzet, Frohlocket.mp3
• 05-NORDDeutsche Philharmonie J. S. Bach - Orchester-Suite Nr. 3, BWV 1068 - Air.mp3
• 06-Michael Schneider An der Marcussen-Orgel Im Dom Zu Schleswig J. S. Bach - Dorische Toccata (BWV 538) .mp3
• 07-Tibor Varga (Violine) & KammeroRCHESTER TIBOR VARGA J. S. Bach - Violinkonzert A-Moll (BWV 1041) - ALLEGRO.MP3
• 08-Tibor Varga (Violine) & KammeroRCHESTER TIBOR VARGA J. S. Bach - Violinkonzert A-Moll (BWV 1041) - adagio.mp3
• 09-Tibor Varga (Violine) & Kammerorchester Tibor Varga J. S. Bach - Violinkonzert A-Moll (BWV 1041) - Allegro Assai.mp3
• 10-DAS Wither Meiser (Flcte) J. S. Bach - Badinerie Aus Der H-Moll-Suite (BWV 1067) .mp3
• 11-Friedrich Tilegant & Das Sitestdeutsche Kammerorchester J. S. Bach - FiNftes Brandenburgisches Konzert (BWV 1050) - Allegro.mp3
• 12-Friedrich Tilegant & Das SitestDeutsche Kammerorchester J. S. Bach - FiNftes Brandenburgisches Konzert (BWV 1050) - AffetTuoso.mp3
• 13-Friedrich Tilegant & Das Sitestdeutsche Kammerorchester J. S. Bach - FiNftes Brandenburgisches Konzert (BWV 1050) - Allegro.mp3

Content third Archive:

• "Goldberg Variations". " Aria.mp3.
• "Goldberg Variations". " Variation 1.mp3
• "Goldberg Variations". " Variation 2.mp3
• "" Little Suite "" from "" Notes Tetradi "" Anna Magdalen Bach.mp3
• "" Symphony "" from christmas oratory.mp3
• Air From Suite No.3.mp3
• Badinerie from Suite No.2.mp3
• Brandenburg Concerto No.1 in F Major, BWV 1046 - Adagio.mp3
• Brandenburg Concerto No.1 in F Major, BWV 1046 - Allegro.mp3
• Brandenburg Concerto No.1 in F Major, BWV 1046 - Allegro Moderato.mp3
• Brandenburg Concerto No.1 in F Major, BWV 1046 - Menuetto, Trio Polacca.mp3
• Brandenburg Concerto No.2 in F Major, BWV 1047 - Allegro Assai.mp3
• Brandenburg Concerto No.2 in F Major, BWV 1047 - Allegro Moderato.mp3
• Brandenburg Concerto No.2 in F Major, BWV 1047 - ANDANTE.MP3
• Brandenburg Concerto No.3 in G Major, BWV 1048 - Allegro.mp3
• Brandenburg Concerto No.3 in G Major, BWV 1048 - Allegro Moderato - Adagio.mp3
• Double Concerto in D Minor, BWV 1043 - Largo.mp3
• Double Violin Concerto in D Minor, BWV 1043, Vivace.mp3
• Jauchzet, FROHLOCKET from Christmas Oratorio.mp3
• Jesu Bleibet Meine Freude from Herz Und Mund Und Tat Und Leben.mp3
• Orchestral Suite No.2, In B MINOR, BWV1067, Badinerie.mp3
• ORGAN CONCERTO IN D MINOR, BWV 596 (After Vivaldi) .mp3
• Piano Concerto in F Minor - Largo.mp3
• Toccata & Fugue in D Minor, BWV 565.mp3
• Toccata and Fugue, In D Minor, BWV 565.mp3
• Toccata from Toccata and Fugue in D minor.mp3
• Violin Concerto in E Major, BWV 1042 - ADAGIO.MP3
• WIR SETZEN UNS MIT TRANEN NIEDER FROM ST MATTHEW PASSION.MP3
• Brandenburg Concerto No. 1 Fa Major, BWV 1046. 1. Allegro .mp3
• Brandenburg concert №1 Fa Major, BWV 1046. 2. adagio.mp3
• Brandenburg Concerto No. 1 Fa Major, BWV 1046. 3. Allegro.Mp3
• Brandenburg concert №1 Fa Major, BWV 1046. 4. MENUET.MP3
• Brandenburg concert number 2 in Major, BWV 1047. 1. Allegro.mp3
• Brandenburg Concert No. 2 Major, BWV 1047. 2. ANDANTE.MP3
• Brandenburg Concert No. 2 Major, BWV 1047. 3. Allegro Assai.mp3
• Brandenburg Concert No. 3 Salt Major, BWV 1048. 1. Allegro.mp3
• Brandenburg Concert No. 3 Salt Major, BWV 1048. 2. Adagio.mp3
• Brandenburg Concert No. 3 Salt Major, BWV 1048. 3. Allegro.mp3
• Brandenburg Concerto №4 Salt Major, BWV 1049. 1. Allegro.mp3
• Brandenburg concert №4 Sol Major, BWV 1049. 2. ANDANTE.MP3
• Brandenburg concert №4 Salt Major, BWV 1049. 3. Presto.mp3
• Brandenburg Concert No. 5 D Major, BWV 1050. 1. Allegro.mp3
• Brandenburg Concert No. 5 D Major, BWV 1050. 2. Affettuoso.mp3
• Brandenburg Concert No. 5 D Major, BWV 1050. 3. Allegro.Mp3
• Brandenburg Concert No. 6 Si Barol Minor, BWV 1051. 1. Allegro.mp3
• Brandenburg concert number 6 SI BIMOL MINOR, BWV 1051. 2. ADAGIO NON TANTO.MP3
• Brandenburg concert №6 SI BIMOL MINOR, BWV 1051. 3. Allegro.mp3
• I.S.Bakh-Sh. Guno- Ave Maria.mp3
• Italian concert, BWV 971. 1. Allegro.mp3
• Orchestral suite №2, SI Minor, BWV 1067. 1. Overture.mp3
• Orchestral suite №2, SI Minor, BWV 1067. 2. RONDO.MP3
• Orchestral suite №2, SI Minor, BWV 1067. 3. Sarabanda.mp3
• Orchestral suite №2, SI Minor, BWV 1067. 4. Burre.mp3
• Orchestral suite №2, SI Minor, BWV 1067. 5. Polonaise.mp3
• Orchestral suite №2, SI Minor, BWV 1067. 6. MENUET.MP3
• Orchestral suite №2, SI Minor, BWV 1067. 7. Joke.mp3
• Orchestral suite №3, re major, BWV 1068. 1. Overture.mp3
• Orchestral suite №3, re major, BWV 1068. 2. Aria.mp3
• Orchestral suite №3, re major, BWV 1068. 3. Gavot.mp3
• Orchestral suite №3, re major, BWV 1068. 4. Burre.mp3
• Orchestral suite №3, re major, BWV 1068. 5. Zhiga.mp3
• Prelude and Fuga Si Barol Major, BWV 560.mp3
• Tokatta and Fuga Re Minor, BWV 565.mp3
• Fantasy and Fuga Salt Minor.mp3
• Choral "" O Mensch, Bewein Dein Sunde Gross ", BWV 622.mp3
• Choral from "" Passions in Matthew "." Mp3
• Choral from Cantata №147, BWV 147.mp3
• Choral Prelude "" Erbarm "Dich Mein, O Herre Gott" ", BWV 751.mp3
• Choral Prelude "" ICH RUF ZU DIR HERR JESU CHRIST ", BWV 639.MP3
• Choral Prelude "" Jesu Christus, Unser Heiland ", BWV 688.mp3
• Choral Prelude "" Wachet AUF, RUFT Uns Die Stimme ", BWV 645.mp3
• Chorus from "" Magnificat ", BWV 243.mp3
• Chorus from Cantata №80, BWV 80.mp3

for choir and voices with orchestra

Passion on Luke (1712, authenticity is disputed)
Johnnespaesion, Libretto B. Broes and I. S. Baha, 1722-23)
MatthausPassion, Libretto Picanander, executed 1729, 2nd edition - 1736, 3rd - 1739, 4th - 1744)
Passion on the brand (MarkusPassion, his libretto, 1731, wretched wage)
Magnitiate (Magnificat, 1723)

osoria.

Christmas Oratoria (Weihnachtsoratorium, 1734)
Easter Oster-Oratorium (Oster-Oratorium, 1734-36)
Oratorio for the Ascension of Christ (Himmelfahrts-Oratorium)

mesca

Mass H-Moll (High Mass, 1733)
4 Short Mass (F-DUR, A-DUR, G-Moll, G-DUR, about 1737)

spiritual Cantati

199 Cantat preserved, including:
№ 71 - Lord, he is my king of Heaven (Gott Ist Mein Konig, the so-called elected cantata, 1708)
No. 4 - Christ lay in the shakes of death (Christ Lag in Todesban-Den. 1708)
No. 106-tragic Cantata (Actus Tragicus, 1711)
No. 12 - Tears, Sighs, Treps, Mount (Weinen, Klagen, Sorgen, Zagen, 1714)
No. 21st Many grief faced (Ich Hatte Viel Bekummernis, 1714)
No. 80 - Lord - My Street (EIN "FESTE BURG IST UNSER GOTT, 1730)
№ 27 - Who knows his last hour (Wer Weiss, Wie Nahe Mir Mein Ende, 1730-1740)
№ 49 - ICH and passionately looking for (ICH GEH "Und Suche Mit Verlangen, 1730-1740)
№ 52 - false world, you do not believe (Falsche Welt, Dir Trau "Ich Nicht, 1730-1740)
№ 156 - Item one foot in the grave (Ich Steh "Mit Einem Fuss Im Grabe, 1730-1740)
№ 39- divided your hungry bread (Brich Mit Dem Hungrigen Dein Brot, 1732)
No. 36 - They will raise happily (Schwingt Treudig Euro Empor, 1732)
№ 1 - How brightly shines the morning star (Wie Schon Leuchtet der Morgenstern, 1735-1744)

pivot Cantati

№ 208 - One Hunting Only Me Bodriti (Was Mirtre Jagd Was Mirtre Jagd, Cantata Hunting, Words S. Frank, 1716)
No. 173-A - Light Leopold (Durch-Iaucht "Ster LEOPOLD, 1717)
№ 205 - Deretnaya EOL (Der ZulriedengeSellte Aeolus, 1725)
№ 207- Drazor defeated variable strings (Vereinigte Zwietracht der Wechselnden Saiten, executed 11 xii 1726)
No. 36-a-yes will be ascended by the desire to swell (Steigt Treudig in Die Luft, 30 IX 1726)
No. 193-A - You, Heavenly Thistle, You, Shining Luminous (Ihr, Hauser Des Himmels, Ihr, Scheinenden Lichter, Use. 3 VIII 1727)
No. 202 - You will retreat, sad shadows (Weichet Nur, Betrubte Schatten, Wedding Cantata, 1725, Published 1727)
№ 205 - I am having fun (Cantata about life in contentment, Ich Bin in Mir Vergnugt, Kantate Von der Vergnugsamkeit, performed to 1728)
№ 216 - the fertile city on the play (Vergnugte Pleissenstadt, executed 5 II 1728)
No. 201st Competition between FEBOM and Pan (Der Streit ZWISCHEN PHOEBUS UND PAN, Libretto Picantera on the plot of "Metamorphosis" Ovidida, 1731)
No. 211- Let the chatter be sink (Schweigt Stille, Plaoundert Nicht. Coffee Cantata, Words №№ 1-8 Piccander №№ 9-10 I. S. B., executed 1732)
№ 206 - slide, playful waves (Schleichet, Spielende Wellen, 1733)
№ 213 - Hercules at the crossroads (Hercules Aut Dem Scheideweg, executed 5 IX 1733)
No. 214- Sound, Litavra, and Pipes, Tonet, Ihr, Pauken, Erschallet, Trompeten, 1733)
№ 215 - Saxony, Blessed Saxony (Preise Dein Glucke, Geseg-Netes Sachsen, Words I. Cowder, 1734)
№ 205-A - attract, enemies (BLAST, LARMEN, IHR Feinde, performed 17 I 1734)
№ 207-A - take up, cheerful pipes.
№ 210- Oh Wonderful Day, Desired Age (O, Holder Tag, Erwunschte Zeit, Okola 1734-1735)
№ 212 - the authorities are new with us (Meg Hahn en Neue Oberkeet, the peasant Cantata, the words of Picanander, 1742)

for orchestra

6 Brandenburg Concerts (1721)
5 overturer-suite (about 1721, 1729-30)
Symphony (processing of the Brandenburg concert number 1, about 1730)

concerts for instruments with orchestra

For violin with orchestra (A-Moll, E-DUR, about 1721; G-Moll, D-DUR passage; D-Moll, about 1721)
7 for harpsichord with orchestra (D-Moll, E-DUR, D-DUR, A-DUR, F-Moll, F-DUR, G-Moll, between 1730 and 1733)
3 concerts for 2 clauses with the orchestra (C-Moll, C-DUR, between 1727 and 1730; C-Moll, about 1730)
2 concerts for 3 clauses with orchestra (D-Moll, C-DUR, between 1730 and 1733)
Concerto for 4 clauses with orchestra (A-Moll, concert A. Vivaldi concert for 4 violins with orchestra between 1730-1733)
Concerto for flute, violin, harpsile with orchestra (A-Moll, - the so-called triple concert-trippelkonzert, after 1730)

chamber ensembles

6 Sonatas for Harpsichord and Violin
Suite for Harpsichord and Violin
3 Sonatas for Harpsichord and Viol Yes Games (or Cello)
3 Sonata for Harpsichord and Flute
4 Sonats ("Inventions") for violin and chamblock
3 Sonata for flute with digital bass

trio Sonats:

For 2 violins with digital bass
For 2 violins and chamblock
For flute and violin with digital bass
For 2 flutes with a digital bass

for organ

6 organ concerts (1717)
18 Preludes and Fugue (1700-17, 1723-39)
3 fantasies and fugues (1700-08), 5 Tokcat with fugars (1700-08)
3 foreplay (1700-08)
8 small preludes and fugues (1708-17)
Fugues (C-Moll, G-DUR, 1700-08; C-Moll on J. Legna, G-Moll, H-Moll on A. Korelli, 1708-09; C-Moll, 1716)
Fantasy (H-Moll, C-DUR, H-Moll Con Imitazione, C-DUR Unknown, 1700-1717)
Passacklia (1716-17)
Pastoral (1703-07)
Chancend (1709)
ALLABREVE (about 1709)
Pedal Exercise (Pedal-Exercitium, 1700-03)
46 Choral Preludes (included in the organ notebook - OG-GELBUCHLEIN, for Wilhelm Friedeman Bach, about 1717)
6 choralov, so-called Shubler's choralas (between 1746-50)
18 Chorals, the so-called Leipzig (the last - Diezer - Before Your Trone, I am - Vor Deinen Thron Trct "ICH HIERMIT, 1747-50)
5 canonical variations on the topic "with heights of heights" ("Vom Himmel Hoch Da Komm Ich Her", 1746-47)
7 chorated variations on the topic "Christ, you all like a bright day" ("Christ, der du Bist Der Helle Tag", about 1700)
9 Choral variations on the topic "Oh, God, you are holy God" ("O GOTT, DU FROMER GOTT", about 1700)
11 choral variations on the topic "Hello to you, Jesus kind" ("Sei Gegrusset, Jesu Gutig", about 1700 and later)
17 variations on the topic "Praise one God in heaven" ("Allein Gott in Der Hoh" Sei Ehr "", about 1705)

for harpsichord

20 small preludes (1717-23)
4 preludes and fugettes (1700-08)
3 preludes and fugues (1700-08, 1717-23, after 1723)
6 Preludes for beginners (1717-23)
2 preludes fantasies (1700-08)
15 binary inventions
15 Three-Hare Symphony Inventions (1700-23)
Capricccho in honor of Johann Christopa Baha (about 1704)
Capriccho on the departure of the beloved brother (Capriccio Sopra La Lontananza del Suo Fratello Dilettissimo, 1704)
Fugette C-Moll (1700- 08)
2 fantasies and fugues (1717-23, after 1723)
Fantasy with an incomplete fugue C-DUR (about 1708)
2 fantasies (1700-17)
Fantasy Rondo C-Moll (1700-08)
Fantasy Prelude (A-Moll, 1708-17)
Chromatic fantasy and fugue (A-Moll, 1720-23)
8 Fug (1700-17)
2 Fugues on the topic Albinoni (1708-17)
7 Tokcat (1700-07, 1720)
2 Sonata (1700-09)
Aria with variations in the Italian manner (Aria Variata Alla Maniera Italiana, A-Moll, about 1709)
Suite (G-Moll, 1700-03)
3 Suits (1708-17)
Suite F-Moll (Neoconated, 1717-23)
6 French Suit (the first 5 suits entered the 1st notebook Anna Magdalena Bach, 1722)
6 English Suite (1720-22)
Adagio (about 1720)
Well tempted key (1st part, 24 preludes and fugues, 1722; 2nd part, 24 preludes and fugues, 1744)
6 Pupit (1726-30), Italian F-DUR Concert (French Overture, 1735)
Aria with 30 variations (Goldberg variations, 1742)
2 music notebooks Anna Magdalen Bach (Notenbuchlein Fur Anna Magdalena Bach, 1st notebook, 1722, 2nd Notebook, 1725)
Klavierbuchlein (Klavierbuchlein) William Friedeman Baha (1720-23)
Art of Fugue (1749-50)

for one solo tool

3 Sonatas for Violin, 3 Wrippers for Violin, 6 Sonatas (Sound) for Cello, including D-DUR for Viola Pompozy, Sonata for Flute, 3 Worders for Lute. Little foreplay for lute; Chorala, spiritual and secular songs, including 4 mott for 8 votes (between 1733 and 1734), solo (Italian cantata, including No. 203- Amur - Amore Traditore, about 1734-35; No. 209- He know What sadness is Non SA Che SIA Dolore, about 1734-35), canons, including mysterious canon (dedicated to Iog. Walter, 1713), mysterious 4-voice canon (dedicated to Fr. Gudeman, 1727), 2-voice Canon (dedicated to I. M. Gesner, 1734), Triple 6-Voting Canon (Canon Triplex A 6 Voc., 1747, is represented by Bach to join the Mitzlerovskoe Society), 3-Voting Canon (for I. G. Fulda, 1747) , 7-voice canon (for Baltazar Schmid-Ta, 1749), 186 choralov for 4 votes (published by I. Kirnberg and K. F. E. Bach, 1784-87), about 30 songs on German spiritual and secular lyrical lyrics ( Including 21 entered the so-called "Musical Book of Songs" G. Shemeli - "Musikalisches Gesangbuch" and 10 songs from the 2nd notebook Anna Magdalen Bach);

processing for harpsichord of various works

Including 16 concerts of different authors (A. Vivaldi, V. Marchello, Duke I. E Veimersky, G. F. Teleman, etc., about 1717), etc.

Bach Johann Sebastian, whose biography causes interest among many music lovers, has become one of the greatest composers in its history. In addition, he was a performer, an organist-virtuoso, a talented teacher. In this article, we will look at the life of Johanna Sebastian Bach, and also imagine his work. The works of the composer often sound in concert halls around the world.

Johann Sebastian Bach (March 31 (21 - on the old style) 1685 - July 28, 1750) - German composer and musician Baroque era. He enriched the music style created in Germany thanks to his skills in counterpoint and harmony, adapts foreign rhythms and forms borrowed, in particular, in Italy and France. The works of Bach are "Goldberg Variations", "Brandenburg Concerts", Mass Si Minor, more than 300 Cantat, of which 190 are preserved, and many other writings. His music is considered a very technically complex, filled with artistic beauty and intellectual depth.

Johann Sebastian Bach. short biography

Bach was born in Eisenach in the family of hereditary musicians. His father, Johann Ambrosius Bach, was the founder of urban musical concerts, and all his uncle were professional performers. The composer's father taught the son of the game on the violin and Clavesis, and Brother, Johann Christoph - on the keycorder, and also introduced Johanna Sebastian with modern music. Partly, on their own initiative, Bach attended the Valley School of St. Michael in Luneburg for 2 years. After the certification, he held several musical positions in Germany, in particular, the court musician of the Duke of Johann Ernst in Weimar, the caretaker of the body in the church named after St. Boniface, located in Arnstadt.

In 1749, the Bach worsened eyesight and health in general, and he died in 1750, July 28. Modern historians believe that the cause of his death was a combination of stroke with pneumonia. The glory of Johanna Sebastian as a magnificent organist spread throughout Europe while Bach's lifetime, although he was not so popular as a composer. As the composer, he became known a little later, in the first half of the 19th century, when interest in his music was reborn. Currently, Johann Sebastian Bach, whose biography in a more complete version is presented below, is considered one of the greatest musical creators in history.

Childhood (1685 - 1703)

Johann Sebastian Bach was born in Eisenach, in 1685, on March 21, on the old style (according to the new one - the 31st of the same month). He was the son of Johann Ambrosius and Elizabeth Lemmerhirt. The composer became an eighth child in the family (the eldest son at the time of birth of Baha was 14 years older than him). The mother of the future composer died in 1694, and his father - eight months later. Bahu at that time turned 10 years old, and he moved to live to Johann Christof, his older brother (1671 - 1731). There he studied, performed and rewritten music, including the writings of his brother, despite the ban to do it. From Johanna Christopa, he adopted many knowledge of music. At the same time, Bach studies theology, Latin, Greek, French, Italian in local gymnasium. As Johann Sebastian Bach is recognized later, the classics from the very beginning inspired and amazed him.

Arnstadt, Weimar and Mülhausen (1703 - 1717)

In 1703, after graduating from school in Sch. Mikhail in Luneburg, the composer was appointed a court musician to the Charter of Johann Ernst III in Weimara. During his seven monthly stay there, the reputation of an excellent keyboard player was entrusted to Bach, and he was invited to a new position of the caretaker in the Church of St. Boniface, located in Arnstadt, 30 km south-west of Weimar. Despite the good family ties and his own musical enthusiasm, after several years of service there was tensions in relations with the bosses. In 1706, Bahu was proposed by the post of an organist in the Church of St. Mussea (Mülhausen), which he took the following year. The new position was paid much higher, a lot of better working conditions, as well as a more professional choir, with whom Bahu had to work was to work. Four months later, the wedding of Johanne Sebastian and Maria Barbara took place. They had seven children, four of whom were lived to growing up, including Wilhelm Friedeman and Karl Philip Emmanuel, who later became famous composers.

In 1708, Bach Johann Sebastian, whose biography accepted a new direction, leaves Mülhausen and returns to Weimar, this time as an organist, and from the 1714 concert organizer, and has the opportunity to work with more professional musicians. In this city, the composer continues to play and compose works for the organ. He also began writing preludes and fugges that later included in his monumental work "well-tempered key", consisting of two volumes. Each of them includes foreplay and fugues written in all possible minor and major tonalities. Also in Weimar, the composer Johann Sebastian Bach is made to work on the work of the "Organ Book" containing Lutheran Choralas, a collection of choral preludes for the organ. In 1717, he fell into disfavor in Weimar, was taken to the arrest for almost a month and was subsequently removed from office.

Kothen (1717 - 1723)

Leopold (an important person - Prince Anhalt Kottensky) suggested Bahu the work of Kappelmeister in 1717. Prince Leopold, being a musician himself, admired the talent of Johann Sebastian, well paid him and gave significant freedom in writing and execution. The prince was Calvinist, and they do not use complex and sophisticated music in worship, respectively, the creativity of Johanne Sebastian Bach of that period was secular and included orchestral suite, suits for cello solo, for a key, as well as the famous "Brandenburg concerts". In 1720, July 7, his spouse Maria Barbara dies, who gave him seven children. Acquaintance of the composer with the second wife comes next year. Johann Sebastian Bach, whose works are gradually beginning to gain popularity, marries the girl named Anna Magdalena Wilke, singer (soprano), in 1721, December 3.

Leipzig (1723 - 1750)

In 1723, Bach received a new position, starting working by the Kanteman of the Holy Thoma. It was a prestigious service in Saxony, which the composer carried over the past 27 years, up to his death. The duties of Baha included training students singing and writing church music for the main churches of Leipzig. Another Johann Sebastian was supposed to give Latin's lessons, but had the opportunity to hire a special person instead. During the Sunday services, and on holidays for worship in the church, cantata was required, and the composer usually performed their own writings, most of which were born in the first 3 years of his stay in Leipzig.

Johann Sebastian Bach, whose authorship classic is currently well known to many people, expanded its composer and executive opportunities in March 1729, holding the leadership of the music board, a secular assembly under the beginning of the composer Georg Philippe Teleman. The board was one of the dozens of private societies, popular at the time in the major cities of Germany, created on the initiative of students of musical institutions. These associations played an important role in German musical life, being led by mostly outstanding specialists. Many works of Bach Period 1730-1740s. Were written and executed in the music board. The last major work of Johanna Sebastian - Mass Si Minor (1748-1749), which was recognized as its most global churchwork. Although completely "Mesa" has never been performed during the life of the author, it is considered one of the most prominent creations of the composer.

Death of Baha (1750)

In 1749, the composer has worsened health. Bach Johann Sebastian, whose biography breaks in 1750, began to unexpectedly lose sight and appealed for help to the English ophthalmologist John Taylor, who spent 2 operations in March-April 1750. However, both were unsuccessful. Vision to the composer never returned. July 28, at the age of 65, Johann Sebastian died. Modern newspapers wrote that "death came as a result of an unsuccessful operation in the eyes." Currently, historians consider the death of the composer's stroke, complicated by pneumonia.

Karl Philip Emmanuel, son of Johanna Sebastian, and his student Johann Friedrich Agrikola wrote a necrologist. He was published in 1754 by Lorenz Christoph Mitzler in a music magazine. Johann Sebastian Bach, a brief biography of which was presented above, was originally buried in Leipzig, near the Church of St. John. The grave remained untouched for 150 years. Later, in 1894, the remains were transferred to a special storage in the Church of St. John, and in 1950 - to the Church of St. Thomas, where the composer rests so far.

Organic creativity

Most of all, during the lifetime, Bach was known precisely as an organist and composer of organ music, which he wrote in all traditional German genres (preludes, fantasy). Favorite genres in which Bach Johann Sebastian - Toccata, Fugue, Choral Preludes. His organ creativity is very diverse. In young age, Johann Sebastian Bach (briefly, we already touched on his biography) earned a reputation as a very creative composer, capable of adapting many foreign styles to organ music. The traditions of Northern Germany were greatly influenced by the traditions of Northern Germany, in particular Georg Bahh, with whom the composer met in Luneburg, and Dietrich Buktehude, whom Johann Sebastian visited in 1704 during a long vacation. At about the same time, Bach rewrites the work of many Italian and French composers, and later - the violin concerts of Vivaldi to breathe new life in them already as works for organ execution. During the most productive creative period (from 1708 to 1714), Bahh Johann Sebastian Fugue and Tokatta, several dozen pairs of preludes and fugues and the "organ book" - an unfinished collection of 46 choral preludes. After departure from Weimar, the composer writes less organ music, although it creates a number of well-known works.

Other wiring

Bach wrote a lot of music for harpsichord, part of which can be performed on the keycorder. Many of these essays are encyclopedic, including theoretical methods and techniques that loved to use Bach Johann Sebastian. Works (list) are presented below:

• "Good Tempered Clavier" - Two-volume work. Each volume contains preludes and fugues in all use of 24 major and minor keys located in chromatic order.
• Inventions and overtures. These two and three-voice works are located in the same order as "well-tempered key", with the exception of some rare tonalities. They were created by Bach for training purposes.
• 3 Collections of dance suite, "French Suit", "English Suit" and a keypad.
• "Goldberg Variations".
• Various plays, such as "French-style Overture", "Italian Concert".

Orchestral and chamber music

Johann Sebastian also wrote works for individual tools, duets and small ensembles. Many of them, such as partitions and Sonatas for Violin Solo, six different Solo Cello Solo, Pupits for Solo Flute, are considered one of the most outstanding composer in the repertoire. Bach Johann Sebastian Symphony, and also created several compositions for Lute Solo. He also created trio-sonates, Solo Sonata for Flute and Viola da Gamba, a large number of Racherkarov and Canonov. For example, the "Art Fugue" cycles, "Musical Offering". The most famous orchestral work of Bach - "Brandenburg Concerts", named because Johann Sebastian presented it in the hope of getting a job from Christian Ludwig Brandenburg-Swedish in 1721. His attempt nevertheless was unsuccessful. The genre of this work is conclude Grosso. Other preserved works of Bach for the orchestra: 2 concerts for violin, concert, written for two violins (the tonality of "D Minor"), concerts for a key and chamber orchestra (from one to four tools).

Vocal and choral essays

• Cantata. Since 1723, Bach worked in the Church of St. Thomas, and every Sunday, as well as on holidays, he guided the execution of Cantat. Despite the fact that sometimes he put the canta of other composers, Johann Sebastian wrote at least 3 cycles of his works in Leipzig, not counting those that were composed of Weimar and Mülhausen. In total, more than 300 cantata were created on spiritual subjects, of which approximately 200 were preserved.
• Motettes. Motakes, the author of which was Johann Sebastian Bach - works on spiritual theme for the choir and Basso Continuo. Some of them were composed for funeral ceremonies.
• Passion, or passion, oratories and tapes. Large works of Bach for choir and orchestra are "Passion on John", "Passion for Matthew" (both are written for a passionate Friday in the churches of St. Thomas and St. Nicholas) and the "Christmas Orator" (cycle of 6 Cantat, intended for holding christmas serving ). Shorter essays - "Easter oratorio" and "Magnitiate".
• Mass Si Minor. Bach created his last work, Mass Si Minor, between 1748 and 1749. "Mesa" was never delivered in the composer's life.

Musical style

Baha's music style has been formed due to his talent for counterpoint, the ability to keep the motive, a little to improvisation, interest in the music of North and South Germany, Italy and France, as well as devotion to Lutheran traditions. Due to the fact that Johanna Sebastian had access to many tools and works in childhood and adolescence, as well as thanks to the ever-increasing talent for writing tissue tissue of music with a stunning temper, the features of Bach's creativity were filled with eclecticity and energy in which foreign influence skillfully combined with Already an existing improved German music school. During the baroque period, many composers composed mostly only framework works, and the performers themselves complemented them with their melodic decorations and developments. This practice varies significantly among European schools. However, the bach compounded most or all melodic lines and details, almost leaving space for interpretation. This feature reflects the density of the counterpunctic textures to which the composer limiting the freedom of spontaneous change of musical lines. In some sources, for some reason, works of other authors are mentioned, which Johann Sebastian Bach allegedly wrote. Lunar Sonata, for example. We, of course, remember that this work was created by Beethoven.

Execution

Modern performers of the Bach works are usually followed by one of the two traditions: the so-called authentic (historically-oriented execution) or modern (cycling modern tools, often - large ensembles). At the time of Bach, the orchestra and choirs were much more modest than today, and even its most ambitious works - Passion and Mass Si Minor - were written for a much smaller number of performers. In addition, today you can hear very different versions of the sound of the same music, since in some chamber works of Johanne Sebastian initially there was no tool in general. Modern "lightweight" versions of Bach's works made a great contribution to the popularization of his music in the 20th century. Among them are well-known melodies performed by Swinger Singers and the 1968 record of Wendy Carlos Switched-on-Bach using a recently invented synthesizer. They showed interest in the music of Bach and jazz musicians, such as Jacques Lusie. Joel Spiegelman performed the processing of his famous "Goldberg Variations" by creating his work in New Age style.

Johann Sebastian Bach is the greatest figure of world culture. The work of the musician-wagon who lived in the XVIII century, genre generally: the German composer joined and summarized the traditions of Protestant Choral with the traditions of Austria's music schools, Italy and France.

200 years after the death of the musician and the composer, interest in his work and biography did not cool, and the contemporaries use the works of Bach in the twentieth century, finding relevance and depth. The choral prelude composer sounds in the "Solaris". The music of Johann Baha, as the best creation of humanity, is recorded on the Golden Plate of Voyager, attached to the space apparatus, launched from the ground in 1977. According to New York Times, Johann Sebastian Bach is the first in the top ten world composers who have created masterpieces standing over time.

Childhood and youth

Johann Sebastian Bach was born on March 31, 1685 in the Thuringian city of Eisenakh, located between the swords of the Hainig National Park and the Thuringian Forest. The boy became a younger and eighth child in the family of a professional musician Johann Ambrosius Baha.

In the genus Bahkh five generations of musicians. The researchers counted fifty relatives of Johann Sebastian, who had listened to music. Among them, Prapraded composer Feit Bach, Bulkhek, everywhere wearing a citra - a plug-in musical instrument in the form of a box.

The head of the Ambrosius Bach family played in churches on the violin and organized secular concerts, so the first music lessons with younger son taught him. Johann Bach from the Small years sang in the choir and pleased the Father with abilities and greed to musical knowledge.

At 9 years old, Mom Johanna Sebastian died - Elizabeth Lemmerhirt, and a year later, the boy became a round orphan. The younger brother took on the care senior - Johann Christoph, the church organist and the music teacher in the neighboring town of Ordruf. Christoph sent Sebastian to the gymnasium, where he taught theology, Latin, story.

The elder brother taught the younger to play on the key and the organ, but the inquisitive boy of these lessons was not enough: secretly from Christopa he took a notebook from the closet with works of famous composers and moon nights rewritten notes. But Brother discovered Sebastian for an unlawful occupation and selected the record.

At the age of 15, Johann Bach became independent: he got a job in Luneburg and brilliantly graduated from the vocal gymnasium, opening his way to the university. But the poverty and the need to earn the means to existence put the point on study.

In Lüneburg, the curiosity pushed the Baha to travel: he visited Hamburg, Celle and Lübeck, where he met the work of eminent musicians Reinkenet and George Bama.

Music

In 1703, graduating from the gymnasium in Lüneburg, Johann Bach got a steady musician in the Veimar Duke of Johann Ernsta. Bach played a violin for half a year and acquired the first popularity as a performer. But soon Johann Sebastian was tired of imprisoning the ear of the Lord playing the violin - he dreamed of developing and opening new horizons in art. Therefore, without thought, I agreed to take the liberated position of the court organist in the Church of St. Boniface in Arnstadt, which is 200 kilometers from Weimar.

Johann Bach worked for three days a week and received high salary. The church body, configured by the new system, expanded the possibilities of a young artist and composer: in Arnstadt Bach wrote three dozen organ works, Capricchio, Cantat and Site. But the tense relationship with the authorities pushed Johann Bach to leave the city in three years.

The last straw, the inconsistent bowl of the patience of the church authorities, was the long-lasting riddling of the musician from Arnstadt. Kosya Clari, and without the dislike of the musician for an innovative approach to the execution of cult spiritual works, organized Bahu a humiliating proceedings for a trip to Lübeck.

In the city there lived and worked the famous organist Dietrich Buxthehude, whose improvisation on the Bach organ dreamed of listening from childhood. Without having money for the carriage, Johann in the fall of 1705 went to Lubeck on foot. The Matra game shocked the musician: instead of the released month, he stayed in four.

After returning to Arnstadt and the proceedings with the boss, Johann Bach left the "coupled place" and went to the Thuringian city of Mülhausen, where he found the work of the organist in the Church of St. Muscia.

The authorities of the city and the church bosses favor a talented musician, his earnings were higher than in Arnstadt. Johann Bach suggested an economical plan for the restoration of the old organ, approved by the authorities, and wrote a festive Cantatant "Lord - My Tsar", dedicated to the inauguration of the new Consul.

But after a year, the wind wanders "removed" Johanna Sebastian from the scene and moved to the previously abandoned Weimar. In 1708, Bach took the place of the court organist and settled in the house next to the Ducal Palace.

Weimarial period of the biography of Johann Baha was fruitful: the composer composed dozens of keypad and orchestral works, met the work and Korelli, learned to use dynamic rhythms and harmonic schemes. Communication with the employer - the heated duke of Johann Ernst, the composer and a musician, influenced the creativity of Baha. In 1713, the Duke brought notes of music of local composers from Italy, who opened up for Johann Baha new horizons in art.

In Weimara, Johann Bach began work on the "organ of the book" - a collection of choral preludes for the body, composed the majestic organ "Toccatu and Fugu Re Minor", "Passabalus of Above Minor" and 20 spiritual cantat.

By the end of the service in Weimara, Johann Sebastian Bach became a widely well-known master of Clausing and an organist. In 1717, the famous French Claviers Louis Marshant arrived in Dresden. Concertremister Volumier, heard about the talent of Baha, invited the musician to compete with Marshant. But on the day of the competition, Louis died from the city, frightened by the failure.

The desire for change called Bach on the road in the fall of the 1717th. The duke released the favorite musician "with the expression of disjitives." The organist hired the prince of Angalt-Ketensky, well-splitted in music. But the commitment of Prince Calvinism did not allow Bahu to compose sophisticated music for worship, so Johann Sebastian wrote mainly secular works.

In the "Ketensky" period, Johann Bach composed six suite for cello, French and English keylows, three Sonats for violin solo. The famous "Brandenburg Concerts" and the Cycle of Works, which includes 48 preludes and fugues, called "well-tempered key" appeared in Kothely. At the same time, Bach wrote two-voice and three-voice inventions, which called "symphony".

In 1723, Johann Bach was set as by the Kantor of the Choir of St. Thoma in the Church of Leipzig. In the same year, the public heard the work of the composer "Passion in John". Soonab, Bach took the position of "Music Director" of all urban churches. For 6 years of the "Leipzig period", Johann Bach wrote 5 annual Cantat cycles, two of whom were lost.

The city council gave composer 8 choral performers at the disposal of the composer, but this amount was extremely few, therefore, up to 20 musicians, Bach hired himself, which was the cause of frequent skirmishes with the authorities.

In 1720, Johann Bach composed mainly cantata for execution in the churches of Leipzig. Wanting to expand the repertoire, the composer wrote secular works. In the spring of 1729, the musician was appointed by the head of the music board - a secular ensemble, founded by a friend of Bach by Georg Philipp teleman. The ensemble was twice a week for a week arranged two-hour concerts in Cimmerman's coffee shop near the market square.

Most secular works composed by the composer from 1730 to 1750, Johann Bach wrote for execution in the coffee shop.

Their number includes jogging "coffee cantata", the comic "peasant Cantata", keypone and concerts for Cello and Clausing. During these years, the famous "Mesa Si Minor" is written, which is called the best choral product of all time.

For spiritual performance, Bach created a "high Mass Cy Minor" and "Passion in Matthew", receiving from the courtyard as a reward for the work of the title of the Royal-Polish and Saxon court composer.

In 1747, Johann Bach visited the courtyard of the King of Prussia Friedrich II. Welject suggested a composer a musical theme and asked to write improvisation. Bach is a master of improvisation - immediately composed a three-eye fugus. Soon he supplemented it with a cycle of variations on this topic, called the "musical offer" and sent a Friedrich II as a gift.

Another big cycle, named "Art of Fugue," Johann Bach did not add. Sons published a cycle after the death of the Father.

In the last decade, the glory of the composer faded: the classicism bloomed, the contemporaries considered the style of Bach old-fashioned. But young composers brought up on the works of Johann Baha, they worshiped him. The creativity of the Great Organist loved and.

A splash of interest in the music of Johann Bach and the revival of the composer's glory began in 1829. In March, Pianist and Composer Felix Mendelssohn organized a concert in Berlin, where the work of "Matthew's passion" sounded. Suddenly loud resonance followed, the view gathered thousands of spectators. Mendelssohn went with concerts in Dresden, Königsberg and Frankfurt.

The work of Johann Bach "Musical joke" and today one of the favorites for thousands of world performers. Line, melodic, gentle music sounds in different variations adapted to the game on modern tools.

Western and Russian musicians popularize the music of Bach. The Swingle Singers vocal ensemble released the debut album Jazz Sebastian Bach, which brought the team of eight vocalists world glory and Grammy Prize.

We handled the music of Johann Bach and jazz musicians Jacques Lusie and Joel Spiegelman. Russian performer tried to pay tribute to Geni.

Personal life

In October 1707, Johann Sebastian Bach married a young cousin from Arnstadt Maria Barbara. Couple had seven children, but three died in infancy. Three sons - Wilhelm Friedem, Karl Philipp Emmanuel and Johann Christians - went the feet feet and became famous musicians and composers.

In the summer of 1720, when Johann Bach with Prince Anhalt Ketensky was abroad, Maria Barbara died, leaving four kids.

Personal life of the composer has improved in a year: at the court of Duke Bach, he met the young beautiful and talented singer Anna Magdalen Wilke. Johann married Anna in December 1721. They had 13 children, but survived Father 9.

In old years, the family for the composer turned out to be the only welcome. For the wife and children, Johann Bach composed vocal ensembles, arranged chamber concerts, enjoying the songs of his wife (Anna Bach had a beautiful soprano) and the game of grown sons.

The fate of his wife and the youngest daughter of Johanna Bach developed sadly. Anna Magdalena died ten years later in the house of contempt for the poor, and the youngest daughter of Regina poured the half-nesting existence. In recent years of life, Ludwig Van Beethoven helped Ludwig.

Death

In the past 5 years, the vision of Johanna Bach was rapidly deteriorating, but the composer composed music, dictating the work of the son-in-law.

In 1750, British ophthalmologist John Taylor arrived in Leipzig. The doctor's reputation is difficult to call impeccable, but Bach clung to the straw and ventured. After the operation, the vision did not return to the musician. Taylor repeatedly operated on the composer, but worsening came for a short-term return of vision. On July 18, 1750, a strike happened, and on July 28, 65-year-old Johann Bach died.

Buried the composer in Leipzig on the church cemetery. Lost grave and remains found in 1894 and reburied in Stone Sarcophage in the Church of St. John, where the musician served 27 years. The temple was destroyed by a bombing during the Second World War, but the ashes of Johann Bach were found in 1949, he was transferred in 1949, buried at the altar of the Church of St. Thoma.

In 1907, in Eisenach, where the composer was born, opened the museum, and in 1985 the museum appeared in Leipzig.

• The favorite occupation of Johanna Baha was considered to visit the church churches in the poor teacher's clothing.
• Thanks to the composer in church choras, men and women sing. The wife of Johann Bach became the first church chore.
• Johann Bach did not take money for private lessons.
• Last name Bach is translated from German as "Creek".

• Johann Bach promised a month in prison for constantly asked for resignation.
• Georg Friedrich Handel is a contemporary Baha, but composers did not meet. The fates of two musicians are similar: both darkened as a result of an unsuccessful operation made by a charlatian Taylor.
• The full catalog of Johann Baha was published 200 years after death.
• The German one ordered the composer to write a work, listening to which he could fall asleep strong sleep. Johann Bach fulfilled the request: the famous Goldberg variations - and now good "sleeping pills".

Aphorisms Baha

• "To sleep well, you should not lie down on the same day when you need to wake up."
• "Play on the keyboards is simple: you just need to know which keys to click."
• "The purpose of music is to touch the heart."

Discography

• "Ave Maria"
• "English suite n3"
• "Branderburg Concert N3"
• "Italian inflexible"
• "Concert N5 F-MINOR"
• "Concert N1"
• "Concert for Cello and Orchestra D-minor"
• "Concert 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 Fuga D-minor"