"Weimar period. Cantatas of the Weimar period: new poetry, new forms and images Bach Weimar period

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Weimar again. Bach on secular service. Introduction to world musical art

In 1708, Bach was again in Weimar in the secular service of a horn organist and court musician of the Duke of Weimar. Bach stayed in Weimar for about ten years. The long stay in the city - the residence of the duke - was by no means caused by satisfaction with the position achieved. There was essentially no difference between the present and the past. But serious considerations kept Bach the musician. For the first time, I had the opportunity to reveal my many-sided talent in versatile performing activities, to test it in all directions: organist, musician of an orchestral chapel, in which I had to play the violin and harpsichord, and from 1714 the position of assistant bandmaster was added. In those days, creativity was inseparable from performance, and the work that Johann Sebastian did in Weimar served as an indispensable school of composer's skill.
Bach composed a lot for the organ, wrote various kinds of pieces for violin and harpsichord, as an assistant conductor, had to create a repertoire for the chapel, including cantatas for performance in the court church. All this required the ability to write quickly, in a variety of genres and forms, applying to different performing means and possibilities. A huge number of everyday practical tasks consumed a maximum of time, but also brought invaluable benefits: a virtuoso flexibility of technology was developed, creative ingenuity and initiative developed. For Bach, it was also the first secular service, where it was relatively free to experiment in the area of ​​secular musical genres that had previously been little accessible to him.
A very important circumstance was contact with world musical art.
Bach previously knew the music of France and Italy and considered many things, especially in Italian music, to be a model for himself. But the type of his own works to a large extent depended on the requirements of the type of service. Bach - a church organist - already before Weimar had considerable experience in composing organ music; in the Weimar period, as an organ composer, he reaches creative heights. The best that Johann Sebastian created for this instrument was written in Weimar: toccata and fugue in D minor; prelude and fugue in A minor; prelude and fugue in C minor and whole line other works.
In organ work, Bach relied on long-established traditions national art enriched by the activities of the composer's immediate predecessors - the German organists Reinken, Boehm, Pachelbel, Buxtehude. Without changing the spirit German music with her inherent philosophy, a penchant for self-deepening and contemplation, Bach improved his art on examples Italian masters. Bach learned from them to give his creations artistic completeness, clarity and beauty of form, flexibility of texture. For Bach, brought up on the ascetic sound of a Protestant chorale, brought up in the traditions national music, largely constrained by the severity of the cult, contact with the sunny art of Italy was extremely beneficial.
A serious study of Italian violin art with its brilliant concert style, which naturally combined the most difficult virtuoso technique with the plasticity of expressive cantilena melodies, brought tangible results. Johann Sebastian put in a lot of work to master new genres and creative techniques Italian virtuosos. To this end, he transcribed Antonio Vivaldi's violin concertos for organ and harpsichord; in a number of organ and clavier fugues developed thematic material Arcangelo Corelli, Giovanni Legrenzi, Tomasio Albinoni.
The study of French music, in particular the harpsichord, did not go unnoticed. Already in his youth, Johann Sebastian was able to appreciate her; in the Lüneburg collection of works transcribed by the composer's hand, there are also French harpsichord pieces; "Capriccio on the Departure of My Beloved Brother" reveals the influence of the program clavier music created by French musicians.
In Weimar there is a further and more in-depth development of French music. Her inherent elegance of style, filigree finish the smallest details and the wealth of pictorial and visual means admired Bach. On the works of French harpsichordists and especially Francois Couperin, Bach learned the techniques of clavier writing.
Simultaneously with his work on the genres of organ and clavier music, Bach composed cantatas. In addition to spiritual cantatas, the first secular cantata “Only a merry hunt amuses me” (“Was mir behagt ist nur die munter Jagd”) appears. It was written and performed in 1716. Subsequently, Bach repeatedly made changes to it (concerning mainly verbal text) and adapted it to other official festivities; eventually the music of the cantata passed into the spiritual repertoire.
The more flexible use of the orchestra in the Weimar cantatas reveals traces of influences and, consequently, Johann Sebastian's familiarity with orchestral music other countries.
So, creatively, Weimar for Bach is extremely milestone. In the central, main area of ​​Bach's art, in organ music, the Weimar period is the heyday and full creative maturity. Bach creates classical creations that no one has ever surpassed, surpassing everything that has ever existed for this instrument. For clavier and other types of instrumental, as well as vocal music the Weimar period is interesting as a period of experiments, searches and remarkable individual finds.
At this time, Bach worked, not sparing himself, all night long. And yet there was not enough time. Much of what was conceived or previously sketched was realized and acquired its final form later, when, after leaving Weimar, Bach moved to Köthen.

In 1708, Bach returned to Weimar to serve as an organist. His stay here lasted for 10 years. During this time, the composer managed to visit several positions - each had its own nuances of work. (I had to write music for several instruments at once). The composer gained invaluable experience in composing while he was in Weimar. No wonder it was here that he wrote the best works for organ.

It is worth adding that even in his youth Johann Sebastian proved himself to be an excellent virtuoso organist. Periodically, he took trips for, and these performances helped spread the fame of Bach as an outstanding improvisational performer. In the city of Kassel, for example, such variations were performed using the pedal that the listeners were delighted. According to the information that has come down to us, Bach was phenomenal and this fact left all his rivals far behind. He could vary within 2 hours the same theme, while doing it all the time in a variety of ways.

One of the episodes from the life of the composer often mentioned by biographers happened in 1717. Bach received an invitation to perform with Louis Marchand (a famous French virtuoso clavier player) in the city of Dresden. At the concert, Marchand performed a French song, and, for its brilliant performance, he received a long applause from the public. Then Johann Sebastian was invited to the instrument. After a short but masterful prelude, the composer repeated the song played by Marchand, also applying many variations to it, constructed in a way that no one had hitherto heard. Bach's superiority was evident, and when Johann Sebastian offered his opponent a friendly duel, Marchand, fearing failure, preferred to leave Dresden as soon as possible.

However, no matter how great the superiority of the German composer over others, this did not improve his general position. In Dresden, one might say, they were amused and let go.

It is noteworthy that Bach never boasted of his successes; moreover, he did not like to remember them. When asked how this is achieved high level performance, he answered that everyone can do this, having made the same efforts. He was modest and impartial, therefore he retained a sense of benevolence towards other people - his idol, for example, was Handel. Bach always wanted to meet him and strived for this, but the meeting never took place.

After 10 years in Weimar, Johann Sebastian occupied only the position of assistant bandmaster, despite the fact that he did all the main work. Therefore, when the vacancy of the court bandmaster opened up, Bach had every reason to take it, but the position did not go to him, but to the mediocre son of the deceased conductor. This naturally seemed to Johann Sebastian an insult, so he demanded his resignation. The duke reacted to this very harshly, but in the spirit of princely morals, taking the disgruntled employee under arrest - supposedly a simple servant dared to question the highest command. So Bach was repaid for 10 years of service in Weimar with an arrest.

Bach's life in Köthen

After Weimar, Bach, together with his wife and children, came to Köthen (this was in 1717). His work here consisted of directing the court orchestra, as well as teaching the prince of Köthen. The rest of the time the composer could spend for. Due to the lack of an organ, I had to concentrate on clavier music in my work.

As time went on, Johann Sebastian became increasingly bored in the small provincial town and thought about leaving. But besides boredom, two more circumstances spurred this step on - 1720 (his wife Maria Barbara died), the desire to give his children a good university education. At first, Bach tried to get a job as an organist in the city of Hamburg at the Church of St. James. He performed in this city during one of his recent artistic trips and pretty much delighted everyone with his organ playing, including the already aged Reinken who was present there. Bahu again did not get the coveted position, it was received by a person who knows nothing about music, but who contributed a round sum to the church fund. I had to wait some more time before new prospects appeared.

In 1721 the great composer married again. The chosen one was called Anna Magdalena, she was from a musical family and she herself had a strong voice. Thanks to some character traits (softness, responsiveness), Anna became a support and support for her husband.

Bach's life in Leipzig

Soon the composer tried to get a job as a cantor in the city of Leipzig. He petitioned the magistrate, but they were looking for a more famous musician. The available candidates refused, so it was decided to accept Bach, and even then on humiliating conditions.

The school of singers, which, thanks to the same conditions, was in the department of Johann Sebastian, was in complete ruin. The members of the choir did not cope with their task, many of them simply did not have the appropriate training, while others were generally not suitable for singing in the choir. It was the same story with the musicians who played in the orchestra. Johann Sebastian wrote reports to the magistrate, but received no support. It was much easier for the petty-bourgeois aristocrats who stood at its head to shift all the blame on the new cantor, which they did in their numerous documents. Thus, in Leipzig, relations with the authorities did not develop, but Johann Sebastian did not want to move somewhere, since he already had considerable experience in such things.

The only thing that somehow smoothed out the feelings about the constant attacks and humiliation of the superiors was the composer's artistic travels. His incredible skill allowed him to win the sympathy of people, as well as make many new acquaintances, since Bach's music was highly appreciated by some of prominent personalities that time.

But still, the composer's contribution (the main thing on which the composer spent his time) remained underestimated. Bach's works were not published, as if no one cared about them. A wall of misunderstanding seemed to have grown between the musician and society, leaving Johann Sebastian as a lonely artist (I must say that his wife gave him great support). And so it was, unfortunately, until the death of the composer.

Bach's latest creations are distinguished by a philosophical abstraction alien to real world. In them, he seems to fence himself off from the cruel reality of the world. But this does not detract from the significance of these works, which are deservedly considered the pinnacle of polyphonic art.

On July 28, 1750, Bach died. This event did not attract much attention. However, in our time, countless people gather in the place where the remains of the composer are located - they are all ardent admirers of his work.

In the Weimar period, Bach brings his art of the performer to the highest degree of perfection, his gift as a composer and improviser reaches full maturity and flourishing.

In Weimar, for the first time, Bach managed to establish himself quite firmly and settled down. Having established himself in his new position, and subsequently received the title of accompanist to the Duke of Weimar, he quite calmly and without any worries spent nine whole years here and all this time he could freely devote to the development of his brilliant talent and creative activity. In this favorable environment, his talent was strengthened and finally formed, and here all the most important works of that first period of his activity, which embraces the decade 1707-1717.

In order to characterize at least briefly the significance and artistic merit of the works of this period, let us now say a few words about the most important of them and, above all, about one of his earliest works, the famous chorale “Eine feste Burg ist unser Gott” (“God is our strong stronghold "). This chorale was written for the Feast of the Reformation and performed by the author himself in 1709 in Mühlhausen, where Bach came from Weimar to test the restored organ. According to the most authoritative reviews, this composition is already a completely artistic work, both in terms of the direct impression it makes on a religiously minded listener, and in terms of its technical construction. Experts praise the contrapuntal basis of the chorale, its musical plan and so on, they are surprised at the extraordinary, quite artistic simplicity of its processing, and especially at that deep and sincere religious feeling with which he is permeated from beginning to end. It must be said that during the period described, Bach wrote a lot of works of the same type and that the chorale was like musical form was generally loved by our composer; the development of a chorale, as well as some other forms church music owes to Bach its highest and most perfect development.

In exactly the same way, this idea should be applied to another form of church music, which has undergone a brilliant development of our composer - cantata. By its type, a very old kind of music, the spiritual cantata, like the chorale, seemed to Bach a very convenient way of expressing the sublimely religious moods that filled him. But from ancient works This kind of composer borrowed, of course, only the form, incorporating in it the freshness and charm of a completely original content. The religious coloration of Bach's spiritual cantatas, starting with this early period, everywhere and always is quite individual, reflecting all the main features of the author's character: his warmth of the heart, a subtle sense of beauty and deep religious thoughtfulness. As for the technical merits of Bach's compositions of this kind, suffice it to say that, in terms of subtlety of development and its "meaningfulness", this style of Bach is not without good reason compared with the style of Beethoven himself.

A number of works of this kind belong to the period described, of which some must be recognized in high degree remarkable in their original merits (for example, a cantata on the text of Psalm 130 and some others).

One of the peculiarities of Bach's creativity in general remains that feature of him that, without setting himself the external goal of inventing new forms of music, he took ready-made forms, created long before him, and then, by the power of his mighty talent, brought their development to such a final degree of perfection, about any before or after him it was impossible to think. He, as it were, exhausted all possible content, all the elements of artistic beauty inherent in one form or another. It is authentically known, for example, that many musicians after Bach refused to write in those musical genres, in which he wrote, and precisely under the influence of the conviction that after him nothing new and artistic could be created there. From the point of view of these considerations, the view that has been established in the history of music is fully justified, according to which Bach, together with another contemporary musical coryphaeus Handel, is the consummator of the former art that had developed before him, putting, so to speak, the last stone in the building of old church music. But this view, with no less reason, is usually supplemented by another consideration, namely, that, while completing the building of old music, Bach at the same time created the foundation for the luxurious building of new music, which developed precisely on those principles that we find in his creations, often traditional in just one appearance. He often developed old forms in completely new ways that were not even considered possible before him. Among other things, his preludes, a number of which were also written in the Weimar era of his life, can serve as an example of such a development. These preludes, according to the most competent reviews, are decisively different both in character and in musical tasks from music that existed under the same name to Bach. They are remarkable for the completely new nature of their development... With everything that concerns Bach's own preludes, it must be said that during this period they still bear noticeable traces of extraneous influence, which requires some biographical explanation.

Bach's thoroughness and conscientious attitude to his art were so great that in the matter of creativity he never, even in his youth, relied solely on the strength of his own talent, but, on the contrary, always and in the most attentive way studied the works of others, both old and and contemporary composers of music. We have already noted this circumstance, referring to German composers, old and modern Bach - Froberg, Pachelbel, Buxtehude and others. But not only German musicians served him as models for study. In order to thoroughly get acquainted with the best works of Italian music, our composer, back in Arnstadt, studied and even transcribed with his own hands the compositions of some famous Italian composers, such as Palestrina, Caldara, Lotti, etc. The study of Italians did not stop later, and in Weimar Bach worked a lot on the works of the famous Venetian composer Vivaldi, whose violin concertos he reworked at that time for the harpsichord. These occupations were then reflected in some of the works of our composer, among other things, in his preludes of this period. However, like the Italian influence, traces of French music of that time can also be noted in Bach, precisely in some of the suites he wrote in Weimar, in which we find dances of an undoubted French warehouse and character.

In addition to those listed, many other very remarkable works by Bach also belong to the Weimar period of his life. Among them are very famous, for example, four magnificent fantasies for harpsichord, many fugues - a kind of compositions that especially glorified Bach - and much more. As a worker, Bach was indefatigable at all times of his life, and our cursory remarks about his Weimar works give only some general idea of ​​the many-sided, deep and fruitful activity that filled his life during the Weimar period, not rich in external facts. In fact, no remarkable events in his life during all these nine years happened. Quiet family life, to which all representatives of the Bach family had such a special inclination, friendly and even relations with the duke, with whom he got along so well, and inaudible, but so meaningful creative activity fully satisfied the whole warehouse of his concentrated nature and all his intellectual needs.

In the meantime, rumors about his wonderful compositions, without any participation on his part, gradually began to spread outside the small Duchy of Saxe-Weimar. However, even louder fame was about his extraordinary skill. musical artist especially on the organ. More and more often, invitations began to come to him to come to one city or another and let him listen to his amazing music. Germany began to recognize its genius, and his popularity grew.

Everyone was talking about the new musician; in the opinion of everyone, he decisively overshadowed the rest of the performers who were in Dresden before him and during his time, and only a few real musicians of the Saxon capital decided to limit the general enthusiasm, saying that a musician lives in Weimar, whose art does not allow any rivalry and that if the audience could compare Marchand's playing with Bach's, she would soon see which side had the advantage. Bach lived in Weimar for about ten years.

The work performed by Johann Sebastian in Weimar served as an indispensable school of composer's skill. It required the ability to write quickly and easily, in the most various forms and genres, to be applied to different performing means and possibilities. As an organist, he had to compose for the organ, as a violinist and harpsichordist - to write all kinds of pieces for the orchestral chapel; when he was appointed assistant conductor, another duty was added: to present a certain number of cantatas of his own composition during the year in order to perform them in the court church. Thus, in the process of tireless daily practice, a virtuoso flexibility of technique was developed, skill was polished, and always new and urgent tasks stimulated creative ingenuity and initiative. In addition, in Weimar, Bach was in the secular service for the first time, and this allowed him to freely experiment in the previously inaccessible field of secular music.

In Weimar, however, Bach had the opportunity to get to know the world of musical art widely. Without leaving Germany, he managed to comprehend and select for himself the most useful and valuable that the musical culture of Italy and France carried. Bach never stopped learning; even in his declining years, in Leipzig, already a finished artist, he engaged in a special study of Italian vocal literature, copying the works of Palestrina (1315-1594) and other classics of ancient choral art. Much in French, and especially in Italian music, Bach considered a model to be followed.

Biography

Childhood

Cities where I.-S. Bach

Johann Sebastian Bach was the sixth child of the musician Johann Ambrosius Bach and Elisabeth Lemmerhirt. The Bach family has been known for its musicality since the beginning of the 16th century: many of Johann Sebastian's ancestors were professional musicians. During this period, the Church, local authorities and the aristocracy supported musicians, especially in Thuringia and Saxony. Bach's father lived and worked in Eisenach. At that time, the city had about 6,000 inhabitants. The work of Johann Ambrosius included organizing secular concerts and performing church music.

When Johann Sebastian was 9 years old, his mother died, and a year later, his father, having managed to marry again shortly before that. The boy was taken in by his elder brother, Johann Christoph, who served as organist in nearby Ohrdruf. Johann Sebastian entered the gymnasium, his brother taught him to play the organ and clavier. Johann Sebastian was very fond of music and did not miss the opportunity to study it or study new works. The following story is known to illustrate Bach's passion for music. Johann Christoph kept a notebook with notes of famous composers of that time in his closet, but, despite the requests of Johann Sebastian, he did not let him get acquainted with it. One day, young Bach managed to extract a notebook from his brother’s always locked cabinet, and within six months moonlit nights he rewrote its contents for himself. When the work was already completed, the brother found a copy and took away the notes.

While studying in Ohrdruf under the guidance of his brother, Bach became acquainted with the work of contemporary South German composers - Pachelbel, Froberger and others. It is also possible that he became acquainted with the works of the composers of Northern Germany and France. Johann Sebastian observed how the organ was cared for, and possibly took part in it himself.

In 1706, Bach decides to change jobs. He was offered a more profitable and high position as organist in the church of St. Vlasia in Mühlhausen, major city In the north of the country. The following year, Bach accepted this offer, taking the place of organist Johann Georg Ahle. His salary was increased compared to the previous one, and the level of the choristers was better. Four months later, on 17 October 1707, Johann Sebastian married his cousin Maria Barbara of Arnstadt. They subsequently had seven children, three of whom died in childhood. Two of the survivors - Wilhelm Friedemann and Carl Philipp Emmanuel - later became well-known composers.

The city and church authorities of Mühlhausen were pleased with the new employee. They approved without hesitation his plan for the restoration of the church organ, requiring great expense, and for the publication of the festive cantata "The Lord is my king", texts that were read in the Lutheran church every Sunday and on holidays throughout the year; many (such as "Wachet auf! Ruft uns die Stimme" and "Nun komm, der Heiden Heiland") are based on traditional church hymns.

During the performance, Bach apparently sat at the harpsichord or stood in front of the choir in the lower gallery below the organ; wind instruments and timpani were located on the side gallery to the right of the organ, strings were located to the left. The city council provided Bach with only about 8 performers, and this often became the cause of disputes between the composer and the administration: Bach himself had to hire up to 20 musicians to perform orchestral works. The composer himself usually played the organ or harpsichord; if he directed the choir, then that place was filled by the staff organist or one of Bach's eldest sons.

During the same period, Bach wrote parts Kyrie And Gloria famous Mass in B minor, later adding the remaining parts, the melodies of which are almost entirely borrowed from the best cantatas of the composer. Bach soon secured an appointment as court composer; apparently, he had long sought this high post, which was a weighty argument in his disputes with the city authorities. Although the entire mass was never performed during the composer's lifetime, today it is considered by many to be one of the best choral works of all time.

During his life, Bach wrote more than 1000 works. In Leipzig, Bach maintained friendly relations with university professors. Especially fruitful was the collaboration with the poet, who wrote under the pseudonym Pikander. Johann Sebastian and Anna Magdalena often hosted friends, family members and musicians from all over Germany in their home. Frequent guests were court musicians from Dresden, Berlin and other cities, including Telemann, the godfather of Carl Philipp Emmanuel. Interestingly, Georg Friedrich Handel, the same age of Bach from Halle, which is only 50 kilometers from Leipzig, never met Bach, although Bach tried to meet him twice in his life - in and years. The fates of these two composers, however, were brought together by John Taylor, who operated on both shortly before their deaths.

The composer was buried near the church of St. Thomas, where he served for 27 years. However, the grave was soon lost, and only in 1894 the remains of Bach were accidentally found during construction work; Then the reburial took place.

Bach studies

The first description of Bach's life and work was a work published in 1802 by Johann Forkel. Forkel's biography of Bach is based on an obituary and stories from Bach's sons and friends. In the middle of the 19th century, the interest of the general public in Bach's music increased, composers and researchers began to collect, study and publish all of his works. The next major work on Bach was the book by Philippe Spitta, published in 1880. At the beginning of the 20th century, the German organist and researcher Albert Schweitzer published a book. In this work, in addition to Bach's biography, description and analysis of his works, much attention is paid to the description of the era in which he worked, as well as theological issues related to his music. These books were the most authoritative until the middle of the 20th century, when, with the help of new technical means and careful research, new facts about the life and work of Bach were established, which in places came into conflict with traditional ideas. So, for example, it was established that Bach wrote some cantatas in - years (it was previously thought that this happened in the 1740s), were not found famous works, and some previously attributed to Bach were not written by him; some facts of his biography were established. In the second half of the 20th century, many works were written on this topic - for example, books by Christoph Wolf. There is also a work called a hoax of the 20th century, "Chronicle of the life of Johann Sebastian Bach, compiled by his widow Anna Magdalena Bach", written by the English writer Esther Meynel on behalf of the composer's widow.

Creation

Bach wrote over 1000 musical works. Today, each of the famous works is assigned a number

Organ creativity

Organ music in Germany by the time of Bach already had a long tradition, developed thanks to Bach's predecessors - Pachelbel, Böhm, Buxtehude and other composers, each of whom influenced him in his own way. Bach knew many of them personally.

During his life, Bach was best known as a first-class organist, teacher and composer of organ music. He worked both in the "free" genres traditional for that time, such as prelude, fantasy, toccata, and in more rigorous forms - chorale prelude and fugue. In his works for organ, Bach skillfully combined the features of different musical styles whom he met throughout his life. The composer was influenced by both the music of northern German composers (Georg Böhm, whom Bach met in Lüneburg, and Dietrich Buxtehude in Lübeck) and the music of southern composers: Bach rewrote the works of many French and Italian composers for himself in order to understand them musical language; later he even transcribed some of Vivaldi's violin concertos for organ. During the most fruitful period for organ music (- years), Johann Sebastian not only wrote many pairs of preludes and fugues and toccata and fugues, but also composed an unfinished Organ book - a collection of 46 short choral preludes, which demonstrated various techniques and approaches to composing works on choral themes. After leaving Weimar, Bach wrote less for the organ; nevertheless, many famous works were written after Weimar (6 trio sonatas, collection " Clavier-ubung"and 18 Leipzig chorales). Throughout his life, Bach not only composed music for the organ, but also consulted in the construction of instruments, checking and tuning new organs.

Other clavier works

Bach also wrote a number of works for harpsichord, many of which could also be played on the clavichord. Many of these creations are encyclopedic collections, demonstrating various techniques and methods for composing polyphonic works. Most of Bach's clavier works published during his lifetime were contained in collections called " Clavier-ubung"("clavier exercises").

• The Well-Tempered Clavier, in two volumes written in and years, is a collection containing 24 preludes and fugues in each volume, one for each common key. This cycle was very important in connection with the transition to instrument tuning systems that make it equally easy to play music in any key - first of all, to the modern equal temperament system.
• 15 two-part and 15 three-part inventions - small works, arranged in order of increasing number of characters in the key. They were intended (and are used to this day) for learning to play the keyboard instruments.
• Three collections of suites: English suites, French suites and Partitas for clavier. Each cycle contained 6 suites built according to the standard scheme (allemande, courante, sarabande, gigue and an optional part between the last two). In the English suites, the allemande is preceded by a prelude, and there is exactly one movement between the sarabande and the gigue; in the French suites, the number of optional movements increases, and there are no preludes. In partitas, the standard scheme is expanded: in addition to exquisite introductory parts, there are additional ones, and not only between the sarabande and the gigue.
• Goldberg Variations (about) - a melody with 30 variations. The cycle has a rather complex and unusual structure. Variations are built more on the tonal plane of the theme than on the melody itself.
• Varied pieces such as Overture in the French Style, BWV 831, Chromatic Fantasy and Fugue, BWV 903, or Concerto Italiano, BWV 971.

Orchestral and chamber music

Bach wrote music both for individual instruments and for ensembles. His works for solo instruments - 6 sonatas and partitas for solo violin, BWV 1001-1006, 6 suites for cello, BWV 1007-1012, and a partita for solo flute, BWV 1013 - are considered by many to be among the composer's most profound works. In addition, Bach composed several works for lute solo. He also wrote trio sonatas, sonatas for solo flute and viola da gamba, accompanied only by a general bass, as well as a large number of canons and ricercars, mostly without specifying the instruments for performance. Most significant examples such works are the cycles " The Art of the Fugue" and " The Musical Offering".

Bach's most famous works for orchestra are the Brandenburg Concertos. They were so named because Bach, having sent them to Margrave Christian Ludwig of Brandenburg-Schwedt in 1721, thought of getting a job at his court; this attempt was unsuccessful. Six concertos were written in the concerto grosso genre. Other surviving works by Bach for orchestra include two violin concertos, a concerto for 2 violins in D minor, BWV 1043, and concertos for one, two, three, and even four harpsichords. Researchers believe that these harpsichord concertos were just transcriptions of older works by Johann Sebastian, now lost. In addition to concertos, Bach composed 4 orchestral suites.

Vocal works

• Cantatas. For a long period of his life every Sunday Bach in the church of St. Thomas led the performance of the cantata, the theme of which was chosen according to the Lutheran church calendar. Although Bach also performed cantatas by other composers, in Leipzig he composed at least three complete annual cycles of cantatas, one for each Sunday of the year and each religious holiday. In addition, he composed a number of cantatas in Weimar and Mühlhausen. In total, Bach wrote more than 300 spiritual cantatas, of which only about 195 have survived to this day. Bach's cantatas vary greatly in form and instrumentation. Some of them are written for one voice, some for a choir; some require for execution large orchestra and some with just a few tools. However, the most commonly used model is as follows: the cantata opens with a solemn choral introduction, then alternate recitatives and arias for soloists or duets, and ends with a chorale. As a recitative, the same words from the Bible are usually taken that are read this week according to the Lutheran canons. The final chorale is often preceded by a chorale prelude in one of the middle movements, and is also sometimes included in introductory part in the form of a cantus firmus. The most famous of Bach's spiritual cantatas are "Christ lag in Todesbanden" (number 4), "Ein" feste Burg" (number 80), "Wachet auf, ruft uns die Stimme" (number 140) and "Herz und Mund und Tat und Leben "(number 147). In addition, Bach also composed a number of secular cantatas, usually dedicated to some events, such as a wedding. Among the most famous secular cantatas of Bach are two Wedding Cantatas and a comic Coffee Cantata.

• Passions, or passions. Passion according to John () and Passion according to Matthew (c.) - works for choir and orchestra on the gospel theme of the suffering of Christ, intended for performance at vespers in good friday in the churches of St. Thomas and St. Nicholas. Passions are one of Bach's most ambitious vocal works. It is known that Bach wrote 4 or 5 passions, but only these two have completely survived to this day.

• Oratorios and Magnificats. The most famous is the Christmas Oratorio () - a cycle of 6 cantatas for performance during the Christmas period of the liturgical year. The Easter Oratorio (-) and the Magnificat are rather extensive and elaborate cantatas and are of a smaller scope than the Christmas Oratorio or Passions. The Magnificat exists in two versions: the original (E-flat major, ) and the later and well-known (D major, ).

• Masses. The most famous and significant Mass of Bach is the Mass in B minor (completed in 1749), which is full cycle ordinary. This mass, like many other works of the composer, included revised early compositions. The Mass was never performed in its entirety during Bach's lifetime - it only happened for the first time in the 19th century. In addition, this music was not performed as intended due to the duration of the sound (about 2 hours). In addition to the Mass in B minor, 4 short two-movement masses by Bach have come down to us, as well as separate movements, such as Sanctus and Kyrie.

Rest vocal works Bach includes several motets, about 180 chorales, songs and arias.

Execution

Today, performers of Bach's music are divided into two camps: those who prefer authentic performance, that is, using the instruments and methods of the Bach era, and those who perform Bach on modern instruments. In Bach's time, there were no such large choirs and orchestras as, for example, in the time of Brahms, and even his most ambitious works, such as the Mass in B minor and passions, do not involve large ensembles. In addition, in some chamber works Bach's instrumentation is not indicated at all, so very different versions of the performance of the same works are known today. In organ works, Bach almost never indicated the registration and change of manuals. From strings keyboard instruments Bach preferred the clavichord. He met Zilberman and discussed with him the structure of his new instrument, contributing to the creation of the modern piano. Bach's music for some instruments was often rearranged for others, for example, Busoni transcribed the organ toccata and fugue in D minor and some other works for pianoforte.

Numerous "lightened" and modernized versions of his works contributed to the popularization of Bach's music in the 20th century. Among them are today's well-known tunes performed by the Swingle Singers and Wendy Carlos' 1968 recording of "Switched-On Bach", which used a newly invented synthesizer. Bach's music was also processed by jazz musicians such as Jacques Loussier. Among Russian contemporary performers Fyodor Chistyakov tried to pay tribute to the great composer in his solo album 1997 "When Bach wakes up."

The fate of Bach's music

Bach's personal seal

IN last years life and after the death of Bach, his fame as a composer began to decline: his style was considered old-fashioned compared to the burgeoning classicism. He was more known and remembered as a performer, teacher and father of the younger Bachs, most notably Carl Philipp Emmanuel, whose music was better known. However, many major composers, such as Mozart, Beethoven and Chopin, knew and loved the work of Johann Sebastian. For example, when visiting St. Thomas Mozart heard one of the motets (BWV 225) and exclaimed: "There is much to learn here!" - after which, asking for notes, he studied them for a long time and rapturously. Beethoven greatly appreciated Bach's music. As a child, he played the preludes and fugues from the Well-Tempered Clavier and later called Bach " true father harmony "and said that" not the Stream, but the Sea is his name "(the word Bach means "stream" in German. Chopin locked himself in a room before concerts and played Bach's music. The works of Johann Sebastian have influenced many composers. Some themes from Bach's works, such as the toccata and fugue in D minor, have been reused in music.

Researchers of Bach's life and work call the period from 1703 to 1717 "Weimar", but in fact he was in Weimar for a relatively small part of this time. He actually spent the first six months there, working as a musician in one of the choir chapels. But soon, in search of new perspectives and impressions, Bach moved to Arnstadt. There he becomes an organist at the "New Church" and gets a lot of free time to hone his musical skills. Here, for the first time, the composer's genius of Johann Sebastian Bach awakens to unprecedented strength. The spiritual cantata "You Won't Leave My Soul in Hell" for organ, choir and orchestra becomes his debut. In another early work - a piece for clavier "Capriccio for the Departure of a Beloved Brother" - for the first time, the most character traits his composing style. Then Bach goes on foot to Lübeck, where the outstanding organist Buxtehude gives concerts. This event becomes turning point in the work of the composer.
The organ music of Buxtehude impresses the young Bach with its mastery and innovative compositional techniques, and the composer lingers in Lübeck for more than two years. Upon his return, he meets the reproaches of the church council, because they let him out of the church for only four months. Striving for independence, Bach leaves Weimar.
The town of Mühlhausen becomes a new haven for the genius, where he also works as a musician in the church. Throughout the year, Bach unsuccessfully tries to raise the level musical culture in the town, attracting the attention of the church and city authorities. During this short period, he writes and performs his Electoral Cantata, which became the only work published during his lifetime.

Soon, in 1708, Bach again came to Weimar, which he had left, and this time he entered the position of court musician. During this period, his performing talent developed, honed by playing the violin, harpsichord and organ. Bach is famous for his improvisations on these instruments.
The organ became a "creative laboratory" for Bach during the "Weimar period". He, like a true scientist, studies its device and all the features of sound extraction, thereby raising organ music to a hitherto unknown level, which is what Bach's notes tell us today. His creative "horse" was the legendary polyphony (polyphony). He writes the famous "Toccata and Fugue in de minor" and many other works for organ.
After the death of the Weimar Kapellmeister in 1716, Bach did not receive his position, as he had hoped. The post is given to a mediocre, but pleasing to the authorities, musician. Outraged by the injustice, Bach resigns and for "disrespect" falls under arrest, after which he again leaves Weimar and moves with his family to Kethen.