122-581: Wiesbadener Bachwochen (Wiesbaden Bach Weeks) is a biennial festival of music around Johann Sebastian Bach in Wiesbaden , the state capital of Hesse , Germany. It was initiated and has been run by Martin Lutz . The city awards the Bachpreis der Landeshauptstadt Wiesbaden to an organist who wins the festival's international competition. In 1975, Martin Lutz , a Wiesbaden church musician and conductor of
244-591: A prelude and fugue in E ♭ major. Although Bach also called his variations " Klavierübung ", he did not specifically designate them as the fourth in this series. Nineteen copies of the first edition survive today. Of these, the most valuable is the Handexemplar (Bach's personal copy of the published score), discovered in 1974 in Strasbourg by the French musicologist Olivier Alain and now kept in
366-454: A bass line written out in repeated quarter notes, in bars 1, 2, 3, 5, 6, and 7. This repeated note motif also appears in the first bar of the second section (bar 17, two Ds and a C), and, slightly altered, in bars 22 and 23. In the second section, Bach changes the mood slightly by introducing a few appoggiaturas (bars 19 and 20) and trills (bars 29–30). This variation is a slow, gentle and richly decorated sarabande in 4 time. Most of
488-440: A broader range of European culture. In addition to singing in the choir, he played the school's three-manual organ and harpsichords . He also came into contact with sons of aristocrats from northern Germany who had been sent to the nearby Ritter-Academie to prepare for careers in other disciplines. In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen , Bach
610-486: A cantata, BWV 191 from his 1733 Kyrie-Gloria Mass for the Dresden court in the mid-1740s, Bach expanded that setting into his Mass in B minor in the last years of his life. The complete mass was not performed during his lifetime. It is considered among the greatest choral works in history. In January 1749, Bach's daughter Elisabeth Juliane Friederica married his pupil Johann Christoph Altnickol . Bach's health
732-560: A charlatan and believed to have blinded hundreds of people. Bach died on 28 July 1750 from complications due to the unsuccessful treatment. An inventory drawn up a few months after Bach's death shows that his estate included five harpsichords , two lute-harpsichords , three violins , three violas , two cellos , a viola da gamba , a lute , a spinet , and 52 "sacred books", including works by Martin Luther and Josephus . C.P.E. Bach saw to it that The Art of Fugue , though unfinished,
854-679: A church cantata monthly in the castle church. The first three cantatas in the new series Bach composed in Weimar were Himmelskönig, sei willkommen , BWV 182 , for Palm Sunday , which coincided with the Annunciation that year; Weinen, Klagen, Sorgen, Zagen , BWV 12 , for Jubilate Sunday ; and Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 for Pentecost . Bach's first Christmas cantata, Christen, ätzet diesen Tag , BWV 63 , premiered in 1714 or 1715. In 1717, Bach fell out of favour in Weimar and, according to
976-495: A composition. He chose his Canonic Variations on "Vom Himmel hoch da komm' ich her" , and a portrait painted by Elias Gottlob Haussmann that featured Bach's Canon triplex á 6 Voc . In May 1747, Bach visited the court of King Frederick II of Prussia in Potsdam . The king played a theme for Bach and challenged him to improvise a fugue based on it. Bach obliged, playing a three-part fugue on one of Frederick's fortepianos ,
1098-457: A festive cantata for the inauguration of the new council , which was published at the council's expense. Bach left Mühlhausen in 1708, returning to Weimar this time as organist and from 1714 Konzertmeister (director of music) at the ducal court, where he could work with a large, well-funded contingent of professional musicians. Bach and his wife moved into a house near the ducal palace. Later that year, their first child, Catharina Dorothea,
1220-468: A great deal of hand-crossing. This ternary pattern— canon , genre piece , arabesque —is repeated a total of nine times, until the Quodlibet breaks the cycle. All the variations are in G major, apart from variations 15, 21, and 25, which are in G minor. At the end of the thirty variations, Bach writes Aria da Capo e fine , meaning that the performer is to return to the beginning (" da capo ") and play
1342-641: A great number of performances on the piano (see Discography below). The piano was rare in Bach's day and there is no indication that Bach would have either approved or disapproved of performing the variations on this instrument. Bach's specification is, more precisely, a two- manual harpsichord , and he indicated in the score which variations ought to be played using one hand on each manual: Variations 8, 11, 13, 14, 17, 20, 23, 25, 26, 27 and 28 are specified for two manuals, while variations 5, 7 and 29 are specified as playable with either one or two. With greater difficulty,
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#17327919576651464-608: A large extent he defined it. Fugues are as characteristic of Bach's style as, for instance, sonata form is of the composers of the Classical period . These strictly contrapuntal compositions, and most of Bach's music in general, are characterised by distinct melodic lines for each voice, where the chords formed by the notes sounding at a given point follow the rules of four-part harmony. Johann Nikolaus Forkel , Bach's first biographer, gives this description of this feature of Bach's music, which sets it apart from most other music: If
1586-608: A much better and newer (1716) organ than the St. Thomas Church or the St. Nicholas Church. Bach was not required to play any organ in his official duties, but it is believed he liked to play on the St. Paul's Church organ for his own pleasure. Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum , a secular performance ensemble Telemann started. This
1708-792: A musician for Protestant churches in Arnstadt and Mühlhausen and, for longer periods, at courts in Weimar , where he expanded his organ repertory, and Köthen , where he was mostly engaged with chamber music . In 1723, he was hired as Thomaskantor ( cantor at St Thomas's ) in Leipzig . There, he composed music for the principal Lutheran churches of the city and its university's student ensemble Collegium Musicum . In 1726, he began publishing his keyboard and organ music. In Leipzig, as had happened during some of his earlier positions, he had difficult relations with his employer. This situation
1830-501: A musician, Leopold appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. Leopold was a Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period is secular, including the orchestral suites , cello suites , sonatas and partitas for solo violin , and the Brandenburg Concertos . Bach also composed secular cantatas for
1952-479: A new type of instrument at the time. Upon his return to Leipzig he composed a set of fugues and canons and a trio sonata based on the Thema Regium ("king's theme"). Within a few weeks this music was published as The Musical Offering and dedicated to Frederick. The Schübler Chorales , a set of six chorale preludes transcribed from cantata movements Bach had written two decades earlier, were published within
2074-653: A prelude and fugue in every major and minor key, displaying a dizzying variety of structural, contrapuntal and fugal techniques. Four-part harmony predates Bach, but he lived during a time when modal music in Western tradition was largely supplanted by the tonal system . In this system a piece of music progresses from one chord to the next according to certain rules, with each chord characterised by four notes. The principles of four-part harmony are found not only in Bach's four-part choral music; he also prescribes it for instance in figured bass accompaniment. The new system
2196-699: A prolonged absence from Arnstadt: after obtaining leave for four weeks, he was absent for around four months in 1705–1706 to take lessons from the organist and composer Johann Adam Reincken and to hear him and Dieterich Buxtehude play in the northern city of Lübeck . The visit to Buxtehude and Reincken involved a 450-kilometre (280 mi) journey each way, reportedly on foot. Buxtehude probably introduced Bach to his friend Reincken so that he could learn from his compositional technique (especially his mastery of fugue ), his organ playing and his skills with improvisation. Bach knew Reincken's music very well; he copied Reincken's monumental An Wasserflüssen Babylon when he
2318-615: A slow prelude with dotted rhythms with a following fugue-like contrapuntal section. Here Bach follows his custom of beginning the second half of a major collection with a movement in French style, as with the earlier Clavier-Übung volumes, in both parts of the Well-Tempered Clavier , in the Musical Offering (#4 of the numbered canons) and in the early version of the Art of Fugue (#7 of P 200). This variation
2440-400: A slower tempo, in keeping with the tempo of the preceding variation (Variation 16), but ultimately decided not to because "Variation 17 is one of those rather skittish, slightly empty-headed collections of scales and arpeggios which Bach indulged when he wasn't writing sober and proper things like fugues and canons, and it just seemed to me that there wasn't enough substance to it to warrant such
2562-523: A soloist) with the orchestra in instrumental cantata movements, a decade before Handel published his first organ concertos. Apart from the 5th Brandenburg Concerto and the Triple Concerto , which already had harpsichord soloists in the 1720s, Bach wrote and arranged his harpsichord concertos in the 1730s, and in his sonatas for viola da gamba and harpsichord neither instrument plays a continuo part: they are treated as equal soloists, far beyond
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#17327919576652684-548: A sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and include influences from abroad. He learned to write dramatic openings and employ the dynamic rhythms and harmonic schemes found in the music of Italians such as Vivaldi , Corelli , and Torelli . Bach absorbed these stylistic aspects to a certain extent by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still regularly performed. Bach
2806-573: A translation of the court secretary's report, was jailed for almost a month before being unfavorably dismissed: "On November 6, [1717,] the quondam [former] 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 unfavorable discharge." Leopold, Prince of Anhalt-Köthen , hired Bach to serve as his Kapellmeister (director of music) in 1717. Himself
2928-418: A year. Around the same time, the set of five canonic variations Bach had submitted when entering Mizler's society in 1747 were also printed. Two large-scale compositions occupied a central place in Bach's last years. Beginning around 1742, he wrote and revised the various canons and fugues of The Art of Fugue , which he continued to prepare for publication until shortly before his death. After extracting
3050-461: Is a very different thing when two melodies are so interwoven that they converse together like two persons upon a footing of pleasant equality. In the first case, the accompaniment is subordinate and serves merely to support the first or principal part. In the second case, the two parts are not similarly related. New melodic combinations spring from their interweaving, out of which new forms of musical expression emerge. Suppose more parts are interwoven in
3172-418: Is a virtuosic two-part toccata in 16 time. Specified for two manuals, it is largely made up of various scale passages, arpeggios and trills, and features much hand-crossing of different kinds. This is a canon at the fourth in 4 time, of the inverted variety: the follower enters in the second bar in contrary motion to the leader. In the first section, the left hand accompanies with
3294-534: Is another two-part virtuosic toccata. Peter Williams sees echoes of Antonio Vivaldi and Domenico Scarlatti here. Specified for two manuals, the piece features hand-crossing. It is in 4 time and usually played at a moderately fast tempo. Rosalyn Tureck is one of the very few performers who recorded slow interpretations of the piece. In making his 1981 re-recording of the Goldberg Variations , Glenn Gould considered playing this variation at
3416-411: Is found in the clavier works of François Couperin is employed, with both hands playing at the same part of the keyboard, one above the other. This is relatively easy to perform on a two-manual harpsichord, but quite difficult to do on a piano. Most bars feature either a distinctive pattern of eleven sixteenth notes and a sixteenth rest, or ten sixteenth notes and a single eighth note . Large leaps in
3538-564: Is frequently found in the sonatas of Scarlatti is employed here, with one hand constantly moving back and forth between high and low registers while the other hand stays in the middle of the keyboard, playing the fast passages. The sixth variation is a canon at the second: the follower starts a major second higher than the leader. The piece is based on a descending scale and is in 8 time. The harpsichordist Ralph Kirkpatrick describes this piece as having "an almost nostalgic tenderness". Each section has an alternate ending to be played on
3660-595: Is harmonically more innovative than his peers', employing surprisingly dissonant chords and progressions, often extensively exploring harmonic possibilities within one piece. Bach's hundreds of sacred works are usually seen as manifesting not just his craft but also a deep faith in God. He had taught Luther's Small Catechism as the Thomaskantor in Leipzig, and some of his pieces represent it. The Lutheran chorale
3782-476: Is specified for two manuals and features large jumps between registers. Both features (ornaments and leaps in the melody) are apparent from the first bar: the piece begins with a transition from the G two octaves below middle C, with a lower mordent, to the G two octaves above it with a trill with initial turn. Bach uses a loose inversion motif between the first half and the second half of this variation, "recycling" rhythmic and melodic material, passing material that
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3904-459: Is still played. Although Bach wrote no operas, he was not averse to the genre or its ornamented vocal style. In church music, Italian composers had imitated the operatic vocal style in genres such as the Neapolitan mass . In Protestant surroundings, there was more reluctance to adopt such a style for liturgical music. Kuhnau had notoriously shunned opera and Italian virtuoso vocal music. Bach
4026-518: Is the interweaving of several melodies, which emerge now in the upper, now in the middle, and now in the lower parts. From 1720, when he was thirty-five until he died in 1750, Bach's harmony consists of this melodic interweaving of independent melodies, so perfect in their union that each part seems to constitute the true melody. Herein, Bach excels all the composers in the world. At least, I have found no one to equal him in music known to me. Even in his four-part writing, we can, not infrequently, leave out
4148-529: Is very similar to that of the gigue from Bach's second French suite and the gigue of the French Overture . This kind of gigue is known as a "Canary", based on the rhythm of a dance which originated from the Canary islands. He concludes, "It need not go quickly." Moreover, Schulenberg adds that the "numerous short trills and appoggiaturas " preclude too fast a tempo. The pianist Angela Hewitt , in
4270-547: The Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements , including the Air on the G String and " Jesu, Joy of Man's Desiring ", and of recordings, such as three different box sets with complete performances of his oeuvre marking the 250th anniversary of his death. Johann Sebastian Bach
4392-579: The Little Organ Book , containing traditional Lutheran chorale tunes set in complex textures. In 1713, Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Market Church of Our Dear Lady . In the spring of 1714, Bach was promoted to Konzertmeister , an honour that entailed performing
4514-567: The organ , and an older second cousin, Johann Ludwig Bach , was a well-known composer and violinist. Bach's mother died in 1694, and his father died eight months later. The 10-year-old Bach moved in with his eldest brother, Johann Christoph Bach , the organist at St. Michael's Church in Ohrdruf , Saxe-Gotha-Altenburg . There he studied, performed, and copied music, including his brother's, despite being forbidden to do so because scores were so valuable and private and blank ledger paper
4636-529: The Bibliothèque nationale de France , Paris. This copy includes printing corrections made by the composer and additional music in the form of fourteen canons on the Goldberg ground (see below ). The nineteen printed copies provide virtually the only information available to modern editors trying to reconstruct Bach's intent, as the autograph (handwritten) score has not survived. A handwritten copy of just
4758-540: The Brandenburg Concertos and orchestral suites, many of Bach's newly composed or reworked pieces were performed for these venues, including parts of his Clavier-Übung ( Keyboard Practice ), his violin and keyboard concertos , and the Coffee Cantata . In 1733, Bach composed a Kyrie–Gloria Mass in B minor that he later incorporated in his Mass in B minor. He presented the manuscript to
4880-523: The Collegium Musicum gave two-hour performances, in winter at the Café Zimmermann , a coffeehouse on Catherine Street off the main market square, and in summer in the proprietor's outdoor coffee garden just outside the town walls, near the East Gate. The concerts, all free of charge, ended with Gottfried Zimmermann's death in 1741. Apart from showcasing his earlier orchestral repertoire, such as
5002-598: The Marktkirche , Lutherkirche , St. Bonifatius and Bergkirche . They have been performed by both local groups and international artists. The motto in 2015 was "Vom Himmel auf Erden" (Of Heaven on Earth), with Fauré's Requiem sung by a festival choir conducted by Andreas Großmann at St. Bonifatius, Dvořák's Requiem at the Marktkirche, and Elgar's The Dream of Gerontius at the Lutherkirche. In 2017,
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5124-599: The Passion with Bible text reflected in recitatives, arias, choruses, and chorales, but in crafting this work, Bach created an overall experience that has been found over the intervening centuries to be both musically thrilling and spiritually profound. Bach published or carefully compiled in manuscript many collections of pieces that explored the range of artistic and technical possibilities inherent in almost every genre of his time except opera . For example, The Well-Tempered Clavier comprises two books, each of which presents
5246-825: The Schiersteiner Kantorei , founded the Wiesbadener Bachwochen as a festival with a focus on the music of Johann Sebastian Bach . He also founded a supporting organisation, the Johann-Sebastian-Bach-Gesellschaft. Lutz has described Bach's music as rapturous and moving ("mitreißende, bewegende Musik") with a transcendental dimension ("Dimension, die ins Transzendentale weise"), faith turned into music ("Musik gewordener Glaube"). Concerts have been performed by local groups and international guests. Beginning in 1977, an international competition for organists has been part of
5368-583: The St Matthew and St John Passions and the Great Eighteen Chorale Preludes , their final revisions. He also programmed and adapted music by composers of a younger generation, including Pergolesi ( BWV 1083 ), and his own students, such as Goldberg ( BNB I/G/2 ). In 1746 Bach was preparing to enter Lorenz Christoph Mizler 's Society of Musical Sciences [ de ] . To be admitted, he had to submit
5490-748: The cello suites and sonatas and partitas for solo violin ; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier ; organ works such as the Schubler Chorales and the Toccata and Fugue in D minor ; and choral works such as the St ;Matthew Passion and the Mass in B ;minor . Since the 19th century Bach Revival , he has been generally regarded as one of
5612-436: The liturgical year . Bach usually led performances of his cantatas , most composed within three years of his relocation to Leipzig. He assumed the office of Thomaskantor on 30 May 1723, presenting the first new cantata, Die Elenden sollen essen , BWV 75 , in the St. Nicholas Church on the first Sunday after Trinity . Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, and three are extant. Of
5734-477: The 18th century, Bach was primarily valued as an organist , while his keyboard music, such as The Well-Tempered Clavier , was appreciated for its didactic qualities. The 19th century saw the publication of some significant Bach biographies , and by the end of that century, all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals (and later also websites) exclusively devoted to him and other publications such as
5856-576: The Aria, the first two variations, the Quodlibet, and the aria da capo), the remaining material is arranged as follows. The variations found just after each canon are genre pieces of various types, among them three Baroque dances (4, 7, 19); a fughetta (10); a French overture (16); two ornate arias for the right hand (13, 25); and others (22, 28). The variations located two after each canon (5, 8, 11, 14, 17, 20, 23, 26, and 29) are what Kirkpatrick calls "arabesques"; they are variations in lively tempo with
5978-781: The Bach family in Leipzig, but the visit did not take place. On 7 July 1720, while Bach was away in Carlsbad with Leopold, his wife, Maria Barbara Bach , suddenly died. The next year, he met Anna Magdalena Wilcke , a young, gifted soprano 16 years his junior, who performed at the court in Köthen; they married on 3 December 1721. Together they had 13 children, six of whom survived into adulthood: Gottfried Heinrich ; Elisabeth Juliane Friederica (1726–1781); Johann Christoph Friedrich and Johann Christian , who both, especially Johann Christian, became significant musicians; Johanna Carolina (1737–1781); and Regina Susanna (1742–1809). In 1723, Bach
6100-538: The Elector in a successful bid to persuade the prince to give him the title of Court Composer. He later extended this work into a full mass by adding a Credo , Sanctus , and Agnus Dei , the music for which was partly based on his own cantatas and partly original. Bach's appointment as Court Composer was an element of his long-term struggle to achieve greater bargaining power with the Leipzig council. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach held
6222-540: The Italian Girolamo Frescobaldi . He learned theology , Latin and Greek at the local gymnasium . By 3 April 1700, Bach and his school friend Georg Erdmann—who was two years older than Bach—studied at St. Michael 's School in Lüneburg , some two weeks' travel north of Ohrdruf. Their journey was probably undertaken mostly on foot. His two years there were critical in exposing Bach to
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#17327919576656344-509: The Leipzig offer to negotiate better terms of employment. Bach was required to instruct the Thomasschule students in singing and provide church music for the main churches in Leipzig. He was also assigned to teach Latin but was allowed to employ four "prefects" (deputies) to do this instead. The prefects also aided with musical instruction. A cantata was required for the church services on Sundays and additional church holidays during
6466-525: The St. Paul's Church, the church of Leipzig University . But when Bach was installed as cantor in 1723, he was put in charge only of music for festal (church holiday) services at St. Paul's Church; his petition to also provide music for regular Sunday services there (for a corresponding salary increase) went all the way to the Elector but was denied. In 1725, Bach "lost interest" in working even for festal services at St. Paul's Church and decided to appear there only on "special occasions". The St. Paul's Church had
6588-425: The aria again before concluding. The aria is a sarabande in 4 time , and features a heavily ornamented melody: The French style of ornamentation suggests that the ornaments are supposed to be parts of the melody; however, some performers (for example Wilhelm Kempff on piano) omit some or all ornaments and present the aria unadorned. Williams opines that this is not the theme at all, but actually
6710-401: The aria is found in the 1725 Notebook for Anna Magdalena Bach . Christoph Wolff suggests on the basis of handwriting evidence that Anna Magdalena copied the aria from the autograph score around 1740; it appears on two pages previously left blank. On the title page, Bach specified that the work was intended for harpsichord. It is widely performed on this instrument today, though there are also
6832-545: The canons BWV 1072–1078 are in that category, as is the bulk of the Musical Offering and the Art of Fugue . Another characteristic of Bach's style is his extensive use of counterpoint , as opposed to the homophony used in his four-part chorale settings, for example. Bach's canons, and especially his fugues, are the most characteristic of this style, which he did not invent but contributed to so fundamentally that to
6954-502: The choir of the Bergkirche performed Handel's Messiah . Johann Sebastian Bach Johann Sebastian Bach (31 March [ O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period . He is known for his prolific output across a variety of instruments and forms, including orchestral music such as the Brandenburg Concertos ; solo instrumental works such as
7076-419: The course of a piece, is another style characteristic where Bach goes beyond the norm in his time. Baroque instruments vastly limited modulation possibilities: keyboard instruments, before a workable system of temperament , limited the keys that could be modulated to, and wind instruments, especially brass instruments such as trumpets and horns , about a century before they were fitted with valves, were tied to
7198-425: The court, such as Die Zeit, die Tag und Jahre macht , BWV 134a . Despite being born in the same year and only about 130 kilometres (80 mi) apart, Bach and Handel never met. In 1719, Bach made the 35-kilometre (22 mi) journey from Köthen to Halle with the intention to meet Handel, but Handel had left town. In 1730, Bach's oldest son, Wilhelm Friedemann, travelled to Halle to invite Handel to visit
7320-542: The courts of Köthen and Weissenfels, as well as that of the Elector Frederick Augustus (who was also King of Poland ) in Dresden . Bach frequently disagreed with his employer, Leipzig's city council, which he regarded as "penny-pinching". Johann Kuhnau had been Thomaskantor in Leipzig from 1701 until his death on 5 June 1722. Bach had visited Leipzig during Kuhnau's tenure: in 1714, he attended
7442-849: The directorship of the Collegium Musicum. In 1735, Bach started preparing his first organ music publication, which was printed as the third Clavier-Übung in 1739. From around that year he started to compile and compose the set of preludes and fugues for harpsichord that became the second book of The Well-Tempered Clavier . He received the title of "Royal Court Composer" from Augustus III in 1736. From 1740 to 1748 Bach copied, transcribed, expanded or programmed music in an older polyphonic style ( stile antico ) by, among others, Palestrina ( BNB I/P/2 ), Kerll ( BWV 241 ), Torri ( BWV Anh. 30 ), Bassani ( BWV 1081 ), Gasparini ( Missa Canonica ), and Caldara ( BWV 1082 ). Bach's style shifted in
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#17327919576657564-570: The festival, with the winner being awarded the Bachpreis der Landeshauptstadt Wiesbaden. After Lutz retired from his church positions at the end of 2017, he continued to run the festival. Concerts and other events are held every two years around November. Each festival has a motto, and events include lectures, chamber music, organ concerts and the organ competition, and large choral concerts. The events are held mostly in Wiesbaden churches, such as
7686-418: The figured bass. In this way, Bach played a key role in the development of genres such as the keyboard concerto. Bach wrote virtuoso music for specific instruments as well as music independent of instrumentation. For instance, the sonatas and partitas for solo violin are considered the pinnacle of what has been written for violin, within reach of only accomplished players. The music fits the instrument, using
7808-401: The first and second repeat. The variation is in 8 meter, suggesting several possible Baroque dances. In 1974, when scholars discovered Bach's own copy of the first printing of the Goldberg Variations , they noted that over this variation Bach had added the heading al tempo di Giga . But the implications of this discovery for modern performance have turned out to be less clear than
7930-449: The first performer of the work. The story of how the variations came to be composed comes from an early biography of Bach by Johann Nikolaus Forkel : [For this work] we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony , Count Kaiserling , who often stopped in Leipzig and brought there with him the aforementioned Goldberg , in order to have him given musical instruction by Bach. The Count
8052-401: The first two bars of the B part, the rhythm mirrors that of the beginning of the A part, but after this a different idea is introduced. Williams sees this as a sort of polonaise . The characteristic rhythm in the left hand is also found in Bach's Partita No. 3 for solo violin , in the A ♭ major prelude from the first book of The Well-Tempered Clavier , and in the D minor prelude of
8174-448: The first variation (a view emphasising the idea of the work as a chaconne rather than a piece in true variation form ). This sprightly variation contrasts markedly with the slow, contemplative mood of the aria. The rhythm in the right hand forces the emphasis on the second beat, giving rise to syncopation from bars 1 to 7. Hands cross at bar 13 from the upper register to the lower, bringing back this syncopation for another two bars. In
8296-407: The first), variation 9 is a canon at the third, and so on until variation 27, which is a canon at the ninth. The final variation, instead of being the expected canon in the tenth, is a quodlibet , discussed below. As Kirkpatrick has pointed out, the variations that intervene between the canons are also arranged in a pattern. If we leave aside the initial and final material of the work (specifically,
8418-537: The full expansion came with the Well-Tempered Clavier , using all keys, which Bach apparently had been developing since around 1720, the Klavierbüchlein für Wilhelm Friedemann Bach being one of its earliest examples. The second page of the Klavierbüchlein für Wilhelm Friedemann Bach is an ornament notation and performance guide that Bach wrote for his eldest son when he was nine years old. Bach
8540-484: The full gamut of its possibilities and requiring virtuosity but without bravura . Notwithstanding that the music and the instrument seem inseparable, Bach transcribed some pieces in this collection for other instruments. Similarly, the virtuoso cello suites seem tailored to the instrument, the best of what is offered for it, but Bach arranged one of the suites for lute. The same applies to much of his most virtuoso keyboard music. Bach exploited an instrument's capacities to
8662-415: The fullest while keeping the core of the music independent of the instrument on which it is performed. In this sense, it is no surprise that Bach's music is easily and often performed on instruments it was not written for, that it is transcribed so often, and that his melodies turn up in unexpected places, such as jazz music. Apart from this, Bach left several compositions without specified instrumentation:
8784-442: The genres associated with it: more than his contemporaries (who had "moved on" to the tonal system without much exception), Bach often returned to the then-antiquated modes and genres. His Chromatic Fantasia and Fugue , emulating the chromatic fantasia genre used by earlier composers such as Dowland and Sweelinck in D dorian mode (comparable to D minor in the tonal system), is an example. Modulation , or changing key in
8906-487: The greatest composers in the history of Western music. The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician, Johann Ambrosius , in Eisenach . After being orphaned at the age of 10, he lived for five years with his eldest brother, Johann Christoph , after which he continued his musical education in Lüneburg . In 1703 he returned to Thuringia , working as
9028-462: The key of their tuning. Bach pushed the limits: he added "strange tones" in his organ playing, confusing the singers, according to an indictment he had to face in Arnstadt, and Louis Marchand , another early experimenter with modulation, seems to have avoided confrontation with Bach because the latter went further than anyone had done before. In the "Suscepit Israel" of his 1723 Magnificat , he had
9150-459: The language of music is merely the utterance of a melodic line, a simple sequence of musical notes, it can justly be accused of poverty. The addition of a Bass puts it upon a harmonic foundation and clarifies it but defines rather than gives it added richness. A melody so accompanied—even though all the notes are not those of the true Bass—or treated with simple embellishments in the upper parts or with simple chords used to be called "homophony". But it
9272-488: The last decade of his life, showing an increased integration of polyphonic structures and canons and other elements of the stile antico . His fourth and last Clavier-Übung volume, the Goldberg Variations for two-manual harpsichord, contained nine canons and was published in 1741. During this period, Bach also continued to adapt music of contemporaries such as Handel ( BNB I/K/2 ) and Stölzel ( BWV 200 ), and gave many of his own earlier compositions, such as
9394-471: The liner notes to her 1999 Hyperion recording, argues that by adding the al tempo di giga notation, Bach was trying to caution against taking too slow a tempo, and thus turning the dance into a forlane or siciliano . She does however argue, like Schulenberg, that it is a French gigue , not an Italian giga and does play it at an unhurried tempo. This is another two-part hand-crossing variation, in 4 time. The French style of hand-crossing such as
9516-503: The melody is written out using thirty-second notes, and ornamented with a few appoggiaturas (more frequent in the second section) and a few mordents . Throughout the piece, the melody is in one voice, and in bars 16 and 24 an interesting effect is produced by the use of an additional voice. Here are bars 15 and 16, the ending of the first section (bar 24 exhibits a similar pattern): This is a rapid two-part hand-crossing toccata in 4 time, with many trills and other ornamentation. It
9638-399: The melody occur. Both sections end with descending passages in thirty-second notes . This is a canon at the third, in 4 time. The supporting bass line is slightly more active than in the previous canons. Variation 10 is a four-voice fughetta, with a four-bar subject heavily decorated with ornaments and somewhat reminiscent of the opening aria's melody. The exposition takes up
9760-744: The more than 300 cantatas he composed in Leipzig, over 100 have been lost to posterity. Most of these works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle on the first Sunday after the Trinity of 1724 and composed only chorale cantatas , each based on a single church hymn. These include O Ewigkeit, du Donnerwort , BWV 20 , Wachet auf, ruft uns die Stimme , BWV 140 , Nun komm, der Heiden Heiland , BWV 62 , and Wie schön leuchtet der Morgenstern , BWV 1 . Bach drew
9882-420: The motto "Bach und seine Zeit" (Bach and his time), it opened at the Marktkirche on 3 November 2019 with the cantata Tritt auf die Glaubensbahn , BWV 152. As chamber music, Bach's Sonatas for Viola da gamba and the Goldberg Variations were played. Ton Koopman , Tini Mathot and Klaus Mertens appeared with songs and works for keyboard instruments. Schiersteiner Kantorei sang Bach's Mass in B minor , and
10004-523: The motto was "Werk und Wirkung" (Work and influence), presenting among others Bach's Sonatas for violin solo and Cello Suites , his cantata Wachet auf, ruft uns die Stimme , BWV 140, in the series Bachvespern, Beethoven's Missa solemnis sung by the Bachchor Wiesbaden, and Verdi's Requiem and Bach's complete Christmas Oratorio , both sung by the Schiersteiner Kantorei . The 23rd festival ran from 3 November 2019 to 11 January 2020. With
10126-451: The musical pattern in one part reappears a bar later in another (sometimes inverted ). Each repeated section has alternate endings for the first or second time. This is the first of the hand-crossing, two-part variations. It is in 4 time. A rapid melodic line written predominantly in sixteenth notes is accompanied by another melody with longer note values, which features very wide leaps: The Italian type of hand-crossing such as
10248-400: The notes indicate the specified chord in the system of figured bass ; where digits are separated by comma, they indicate different options taken in different variations. Every third variation in the series of 30 is a canon , following an ascending pattern. Thus, variation 3 is a canon at the unison, variation 6 is a canon at the second (the second entry begins the interval of a second above
10370-599: The notes of the first edition are in Schmid's own handwriting. The title page, shown in the figure above, reads in German: The term " Clavier Ubung " (nowadays spelled " Klavierübung ") had been assigned by Bach to some of his previous keyboard works. Klavierübung part 1 was the six partitas , part 2 the Italian Concerto and French Overture , and part 3 a series of chorale preludes for organ framed by
10492-458: The organist at the New Church, with light duties, a relatively generous salary, and a new organ tuned in a temperament that allowed music written in a wider range of keys to be played. Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach felt discontented by the calibre of musicians he
10614-628: The piece." Glenn Gould said of this variation, "It's the most severe and rigorous and beautiful canon ... the most severe and beautiful that I know, the canon in inversion at the fifth. It's a piece so moving, so anguished—and so uplifting at the same time—that it would not be in any way out of place in the St. Matthew's Passion; matter of fact, I've always thought of Variation 15 as the perfect Good Friday spell." The entire set of variations can be seen as being divided into two halves, clearly marked by this grand French overture, commencing with particularly emphatic opening and closing chords . It consists of
10736-441: The same free and independent manner. In that case, the apparatus of language is correspondingly enlarged and becomes practically inexhaustible if, in addition, varieties of form and rhythm are introduced. Hence, harmony becomes no longer a mere accompaniment of melody but rather a potent agency for augmenting the richness and expressiveness of musical conversation. To serve that end, a simple accompaniment will not suffice. True harmony
10858-444: The same note as the leader, a bar later. As with all canons of the Goldberg Variations (except the 27th variation, canon at the ninth), there is a supporting bass line. The time signature of 8 and the many sets of triplets suggest a kind of a simple dance. Like the passepied , a Baroque dance movement, this variation is in 8 time with a preponderance of quaver rhythms. Bach uses close but not exact imitation :
10980-410: The same thematic material with slight changes. It resembles a counter-exposition: the voices enter one by one, all begin by stating the subject (sometimes a bit altered, like in the first section). The section begins with the subject heard once again, in the soprano voice, accompanied by an active bass line, making the bass part the only exception since it doesn't pronounce the subject until bar 25. This
11102-408: The second book. Heinz Niemüller also mentions the polonaise character of this variation. This is a simple three-part contrapuntal piece in 4 time, two voices engage in constant motivic interplay over an incessant bass line. Each section has an alternate ending to be played on the first and second repeat. The first of the regular canons, this is a canon at the unison: the follower begins on
11224-674: The service at the St. Thomas Church on the first Sunday of Advent, and in 1717 he had tested the organ of the St. Paul's Church . In 1716, Bach and Kuhnau met on the occasion of the testing and inauguration of an organ in Halle. The position was offered to Bach only after it had been offered to Georg Philipp Telemann and then to Christoph Graupner , both of whom chose to stay where they were—Telemann in Hamburg and Graupner in Darmstadt—after using
11346-477: 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; probably for this purpose, and for in-school training, he wrote at least six motets . As part of his regular church work, he performed other composers' motets, which served as formal models for his own. Bach's predecessor as cantor, Johann Kuhnau, had also been music director for
11468-408: The three variations in G minor, and its melancholic mood contrasts sharply with the playfulness of the previous variation. Pianist Angela Hewitt notes that there is "a wonderful effect at the very end [of this variation]: the hands move away from each other, with the right suspended in mid-air on an open fifth. This gradual fade, leaving us in awe but ready for more, is a fitting end to the first half of
11590-452: The title page also makes the tale of the commission unlikely. Goldberg's age at the time of publication (14 years) has also been cited as grounds for doubting Forkel's tale, although it must be said that he was known to be an accomplished keyboardist and sight-reader. Williams (2001) contends that the Forkel story is entirely spurious. Arnold Schering has suggested that the aria on which
11712-513: The trumpets in E-flat play a melody in the enharmonic scale of C minor. The major development in Bach's time to which he contributed in no small way was a temperament for keyboard instruments that allowed their use in every key (12 major and 12 minor) and also modulation without retuning. His Capriccio on the departure of a beloved brother , a very early work, showed a gusto for modulation unlike any contemporary work it has been compared to, but
11834-412: The upper and lower parts and still find the middle parts harmonious and agreeable. Goldberg Variations The Goldberg Variations ( German : Goldberg-Variationen ), BWV 988, is a musical composition for keyboard by Johann Sebastian Bach , consisting of an aria and a set of 30 variations . First published in 1741, it is named after Johann Gottlieb Goldberg , who may also have been
11956-445: The variations are based was not written by Bach. More recent scholarly literature (such as the edition by Christoph Wolff ) suggests that there is no basis for such doubts. Rather unusually for Bach's works, the Goldberg Variations were published in his own lifetime, in 1741. The publisher was Bach's friend Balthasar Schmid of Nuremberg . Schmid printed the work by making engraved copper plates (rather than using movable type); thus
12078-478: The whole first section of this variation (pictured). First the subject is stated in the bass, starting on the G below middle C. The answer (in the tenor) enters in bar 5, but it's a tonal answer, so some of the intervals are altered. The soprano voice enters in bar 9, but only keeps the first two bars of the subject intact, changing the rest. The final entry occurs in the alto in bar 13. There is no regular counter-subject in this fugue. The second section develops using
12200-415: The work can nevertheless be played on a single-manual harpsichord or piano. After a statement of the aria at the beginning of the piece, there are thirty variations. The variations do not follow the melody of the aria, but rather use its bass line and chord progression . The bass line is notated by harpsichordist and musicologist Ralph Kirkpatrick in his performing edition as follows. The digits above
12322-523: The writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation. But since at this time all his works were already models of art, such also these variations became under his hand. Yet he produced only a single work of this kind. Thereafter the Count always called them his variations. He never tired of them, and for a long time sleepless nights meant: "Dear Goldberg, do play me one of my variations." Bach
12444-704: Was 15 years old. Bach later wrote several other works on the same theme. When Bach revisited Reincken in 1720 and showed him his improvisatory skills on the organ, Reincken reportedly remarked: "I thought that this art was dead, but I see that it lives in you." In 1706, Bach applied for a post as organist at the Blasius Church in Mühlhausen . As part of his application, he had a cantata performed on Easter, 24 April 1707, likely an early version of his Christ lag in Todes Banden . Bach's application
12566-598: Was accepted a month later, and he took up the post in July. The position included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach , his second cousin. Bach convinced the church and town government at Mühlhausen to fund an expensive renovation of the organ at the Blasius Church. In 1708, Bach wrote Gott ist mein König ,
12688-690: Was appointed Thomaskantor director of church music in Leipzig. He had to direct the St. Thomas School and provide four churches with music, the St. Thomas Church , the St. Nicholas Church , and to a lesser extent, the New Church and St. Peter's Church . This was "the leading cantorate in Protestant Germany", located in the mercantile city in the Electorate of Saxony , which he held for 27 years, until his death. During that time he gained further prestige through honorary appointments at
12810-471: Was appointed court musician in the chapel of Duke Johann Ernst III in Weimar . His role there is unclear, but it probably included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so widely that he was invited to inspect the new organ and give the inaugural recital at the New Church (now Bach Church ) in Arnstadt , about 30 kilometres (19 mi) southwest of Weimar. On 14 August 1703, he became
12932-454: Was at first assumed. In his book The Keyboard Music of J. S. Bach the scholar and keyboardist David Schulenberg notes that the discovery "surprised twentieth-century commentators who supposed gigues were always fast and fleeting." However, "despite the Italian terminology [ giga ], this is a [less fleet] French gigue." Indeed, he notes, the dotted rhythmic pattern of this variation (pictured)
13054-404: Was at the core of Bach's style, and his compositions are to a large extent considered to have laid down the rules for the evolving scheme that dominated musical expression in the next centuries. Some examples of this characteristic of Bach's style and its influence: Bach's insistence on the tonal system and contribution to shaping it did not imply he was less at ease with the older modal system and
13176-512: Was born in Eisenach , the capital of the duchy of Saxe-Eisenach , in present-day Germany, on 21 March 1685 O.S. (31 March 1685 N.S. ). He was the eighth and youngest child of Johann Ambrosius Bach , the director of the town musicians, and Maria Elisabeth Lämmerhirt . His father likely taught him violin and basic music theory . His uncles were all professional musicians who worked as church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach , introduced him to
13298-495: Was born, and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until she died in 1729. Three sons were also born in Weimar: Wilhelm Friedemann , Carl Philipp Emanuel , and Johann Gottfried Bernhard . Johann Sebastian and Maria Barbara had three more children—twins born in 1713 and a single birth; none survived past their first birthday. Bach's time in Weimar began
13420-420: Was collaborating with. He called one of them, Geyersbach, a "Zippel Fagottist" ( weenie bassoonist ). Late one evening, Geyersbach went after Bach with a stick. Bach filed a complaint against Geyersbach with the authorities. They acquitted Geyersbach with a minor reprimand and ordered Bach to be more moderate about the musical qualities he expected from his students. Some months later, Bach upset his employer with
13542-474: Was costly. He received valuable teaching from his brother, who instructed him on the clavichord . Johann Christoph exposed him to the works of great composers of the day, including South Germans such as Johann Caspar Kerll , Johann Jakob Froberger , and Johann Pachelbel (under whom Johann Christoph had studied); North Germans; Frenchmen such as Jean-Baptiste Lully , Louis Marchand , and Marin Marais ; and
13664-506: Was declining. On 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Gottlob Harrer , fill the Thomaskantor and Director musices posts "upon the eventual ... decease of Mr. Bach". Becoming blind, Bach underwent eye surgery in March 1750 and again in April by the British eye surgeon John Taylor , a man widely understood today as
13786-506: Was generally quite specific on ornamentation in his compositions (in his time, much ornamentation was not written out by composers but rather considered a liberty of the performer), and his ornamentation was often quite elaborate. For instance, the "Aria" of the Goldberg Variations has rich ornamentation in nearly every measure. Bach's approach to ornamentation can also be seen in a keyboard arrangement he made of Marcello 's Oboe Concerto : he added explicit ornamentation, which centuries later
13908-400: Was in the right hand to the left hand, and loosely (selectively) inverting it. Contrasting it with Variation 15, Glenn Gould described this variation as "certainly one of the giddiest bits of neo-Scarlatti-ism imaginable." This is a canon at the fifth in 4 time. Like Variation 12, it is in contrary motion with the leader appearing inverted in the second bar. This is the first of
14030-409: Was less moved. After a performance of his St Matthew Passion , someone said it all sounded much like opera. In concerted playing in Bach's time, the basso continuo, consisting of instruments such as organ, viola da gamba , or harpsichord, usually had the role of accompaniment, providing a piece's harmonic and rhythmic foundation. Beginning in the 1720s, Bach had the organ play concertante (i.e., as
14152-495: Was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia . ... Once the Count mentioned in Bach's presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulfill this wish by means of Variations,
14274-437: Was one of the dozens of private societies in the major German-speaking cities established by musically active university students; they had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff , assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions". Every week,
14396-595: Was particularly attracted to the Italian style, in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement . In Weimar, Bach continued to play and compose for the organ and perform concert music with the duke's ensemble. He also began to write the preludes and fugues that were later assembled into his monumental work The Well-Tempered Clavier ("clavier" meaning clavichord or harpsichord), consisting of two books, each containing 24 preludes and fugues in every major and minor key. In Weimar Bach also started work on
14518-403: Was perhaps never so rewarded for one of his works as for this. The Count presented him with a golden goblet filled with 100 Louis d'or . Nevertheless, even had the gift been a thousand times larger, their artistic value would not yet have been paid for. Forkel wrote his biography in 1802, more than 60 years after the events related, and its accuracy has been questioned. The lack of dedication on
14640-843: Was published in 1751. Together with one of J.S. Bach's former students, Johann Friedrich Agricola , C.P.E. Bach also wrote the obituary (" Nekrolog "), which was published in Mizler's Musikalische Bibliothek [ de ] , a periodical journal produced by the Society of Musical Sciences, in 1754. From an early age, Bach studied the works of his musical contemporaries of the Baroque period and those of earlier generations, and those influences are reflected in his music. Like his contemporaries Handel, Telemann, and Vivaldi, Bach composed concertos, suites, recitatives, da capo arias , and four-part choral music, and employed basso continuo . His music
14762-1094: Was somewhat remedied when his sovereign, Augustus III of Poland , granted him the title of court composer in 1736. In the last decades of his life, Bach reworked and extended many of his earlier compositions. He died of complications after a botched eye surgery in 1750 at the age of 65. Bach enriched established German styles through his mastery of counterpoint , harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly Italy and France. His compositions include hundreds of cantatas , both sacred and secular . He composed Latin church music , Passions , oratorios , and motets . He often adopted Lutheran hymns , not only in his larger vocal works but, for instance, also in his four-part chorales and his sacred songs . Bach wrote extensively for organ and for other keyboard instruments . He composed concertos , for instance for violin and for harpsichord , and suites , as chamber music as well as for orchestra . Many of his works employ contrapuntal techniques like canon and fugue . In
14884-503: Was the basis of much of his work. In elaborating these hymns into his chorale preludes, he wrote more cogent and tightly integrated works than most, even when they were massive and lengthy. The large-scale structure of every major Bach sacred vocal work is evidence of subtle, elaborate planning to create religiously and musically powerful expression. For example, the St Matthew Passion , like other works of its kind, illustrated
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