Johann Sebastian Bach what works he wrote. Bach's most famous work

German composer Johann Sebastian Bach created more than 1000 pieces of music in his lifetime. He lived in the Baroque era and in his work summarized everything that was characteristic of the music of his time. Bach wrote in every genre available in the 18th century, with the exception of opera. Today, the works of this master of polyphony and virtuoso organist are listened to in the most different situations- they are so diverse. You can find ingenuous humor and deep sorrow in his music, philosophical reflections and intense drama.

Johann Sebastian Bach was born in 1685, he was the eighth and youngest child in the family. The father of the great composer Johann Ambrosius Bach was also a musician: the Bach family has been known for its musicality since the beginning of the 16th century. At that time, the creators of music enjoyed special honor in Saxony and Thuringia, they were supported by the authorities, aristocrats and representatives of the church.

Bach lost both parents by the age of 10, and his older brother, who worked as an organist, took up his upbringing. Johann Sebastian studied at the gymnasium, and at the same time received from his brother the skills of playing the organ and clavier. At the age of 15, Bach entered vocal school and began to write the first works. After leaving school, he was briefly a court musician for the Duke of Weimar, and then became an organist in a church in the city of Arnstadt. It was then that the composer wrote a large number of organ works.

Soon, Bach began to have problems with the authorities: he expressed dissatisfaction with the level of training of the singers in the choir, and then completely left for another city for several months in order to get acquainted with the playing of the authoritative Danish-German organist Dietrich Buxtehude. Bach left for Mühlhausen, where he was invited to the same position - an organist in the church. In 1707, the composer married his cousin, who bore him seven children, three of whom died in infancy, and two later became famous composers.

In Mühlhausen, Bach worked for only a year, and then moved to Weimar, where he became court organist and organizer of concerts. By this time, he already enjoyed great recognition and received a high salary. It was in Weimar that the composer's talent reached its peak - for about 10 years he was continuously composing works for clavier, organ and orchestra.

By 1717, Bach had achieved all possible heights in Weimar and began to look for another job. At first, the old employer did not want to let him go, and even put him under arrest for a month. However, Bach soon left him and went to the city of Köthen. If earlier his music was largely composed for worship, then here, due to the special requirements of the employer, the composer began to write mainly secular works.

In 1720, Bach's wife suddenly died, but a year and a half later he married a young singer again.

In 1723, Johann Sebastian Bach became the cantor of the choir at the Church of St. Thomas in Leipzig, and then was appointed the "music director" of all the Churches that worked in the city. Bach continued to write music until his death - even having lost his sight, he dictated it to his son-in-law. Died great composer in 1750, now his remains are buried in the same church of St. Thomas in Leipzig, where he worked for 27 years.

Johann Sebastian Bach is the greatest figure in world culture. The work of a universal musician who lived in the 18th century is genre-wide: the German composer combined and generalized the traditions of the Protestant chant with the traditions of the music schools of Austria, Italy and France.

200 years after the death of the musician and composer, interest in his work and biography has not cooled down, and contemporaries use Bach's works in the 20th century, finding relevance and depth in them. The composer's chorale prelude is heard in Solaris. The music of Johann Bach, as the best creation of mankind, was recorded on the Voyager Golden Record, attached to a spacecraft launched from Earth in 1977. According to The New York Times, Johann Sebastian Bach is the first in the world's top ten composers who have created masterpieces that stand above time.

Childhood and youth

Johann Sebastian Bach was born on March 31, 1685 in the Thuringian city of Eisenach, located between the hills of the Heinig National Park and the Thuringian Forest. The boy became the youngest and eighth child in the family professional musician Johann Ambrosius Bach.

There are five generations of musicians in the Bach family. The researchers counted fifty relatives of Johann Sebastian, who connected life with music. Among them was the composer's great-great-grandfather Veit Bach, a baker who carried a zither everywhere, a box-shaped plucked musical instrument.

The head of the family, Ambrosius Bach, played the violin in churches and organized secular concerts, so the first music lessons younger son he taught. Johann Bach sang in the choir from an early age and pleased his father with his abilities and greed for musical knowledge.

At the age of 9, Johann Sebastian's mother, Elisabeth Lemmerhirt, died, and a year later the boy became an orphan. The younger brother was taken care of by the older one, Johann Christoph, a church organist and music teacher in the nearby town of Ohrdruf. Christophe sent Sebastian to the gymnasium, where he taught theology, Latin, and history.

The older brother taught the younger to play the clavier and organ, but these lessons were not enough for the inquisitive boy: secretly from Christophe, he took out a notebook with works by famous composers from the closet and rewrote the notes on moonlit nights. But his brother discovered Sebastian in an illegal activity and took away the records.

At the age of 15, Johann Bach became independent: he got a job in Lüneburg and brilliantly graduated from the vocal gymnasium, opening his way to the university. But poverty and the need to earn a living put an end to my studies.

In Lüneburg, curiosity pushed Bach to travel: he visited Hamburg, Celle and Lübeck, where he got acquainted with the work of famous musicians Reinken and Georg Boehm.

Music

In 1703, after graduating from the gymnasium in Lüneburg, Johann Bach got a job as a court musician in the chapel of the Weimar Duke Johann Ernst. Bach played the violin for six months and gained his first popularity as a performer. But soon Johann Sebastian got tired of pleasing the ears of the masters by playing the violin - he dreamed of developing and opening up new horizons in art. Therefore, without hesitation, he agreed to take the vacant position of court organist in the church of St. Boniface in Arnstadt, which is 200 kilometers from Weimar.

Johann Bach worked three days a week and received a high salary. Church organ tuned to new system expanded the possibilities young performer and composer: in Arnstadt, Bach wrote three dozen organ works, capriccios, cantatas and suites. But tense relations with the authorities pushed Johann Bach to leave the city after three years.

The last straw that outweighed the patience of the church authorities was the long excommunication of the musician from Arnstadt. The inert churchmen, who already disliked the musician for his innovative approach to the performance of cult spiritual works, gave Bach a humiliating trial for a trip to Lübeck.

The famous organist Dietrich Buxtehude lived and worked in the city, whose improvisations on the organ Bach dreamed of listening to from childhood. Having no money for a carriage, Johann went to Lübeck on foot in the autumn of 1705. The play of the master shocked the musician: instead of the allotted month, he stayed in the city for four.

After returning to Arnstadt and arguing with his superiors, Johann Bach left his "familiar place" and went to the Thuringian city of Mühlhausen, where he found work as an organist in the church of St. Blaise.

The city authorities and the church authorities favored talented musician, his earnings were higher than in Arnstadt. Johann Bach proposed an economical plan for the restoration of the old organ, approved by the authorities, and wrote a festive cantata "The Lord is my king", dedicated to the inauguration of the new consul.

But a year later, the wind of wandering "removed" Johann Sebastian from his place and transferred him to the previously abandoned Weimar. In 1708, Bach took the place of court organist and settled in a house next to the ducal palace.

The "Weimar period" of the biography of Johann Bach turned out to be fruitful: the composer composed dozens of clavier and orchestral works, got acquainted with the work of Corelli, learned to use dynamic rhythms and harmonic schemes. Communication with the employer - Crown Duke Johann Ernst, a composer and musician, influenced Bach's work. In 1713, the duke brought from Italy the notes of musical works by local composers, which opened up new horizons in art for Johann Bach.

In Weimar, Johann Bach began work on the Organ Book, a collection of choral preludes for organ, composed the majestic organ Toccata and Fugue in D Minor, Passacaglia in C Minor, and 20 spiritual cantatas.

By the end of his service in Weimar, Johann Sebastian Bach had become a well-known harpsichord maker and organist. In 1717, the famous French harpsichordist Louis Marchand arrived in Dresden. The concertmaster Volumier, having heard about Bach's talent, invited the musician to compete with Marchand. But on the day of the competition, Louis ran away from the city, afraid of failure.

The desire for change called Bach on the road in the autumn of 1717. The Duke released his beloved musician "with an expression of disgrace." The organist was hired as bandmaster by Prince Anhalt-Ketensky, who was well versed in music. But the prince's commitment to Calvinism did not allow Bach to compose refined music for worship, so Johann Sebastian wrote mainly secular works.

In the "Keten" period, Johann Bach composed six suites for cello, French and English clavier suites, three sonatas for violin solos. The famous "Brandenburg Concertos" and a cycle of works, including 48 preludes and fugues, called "The Well-Tempered Clavier" appeared in Kothen. At the same time, Bach wrote two-part and three-part inventions, which he called "symphonies".

In 1723, Johann Bach took a job as cantor of the choir of St. Thomas in the church of Leipzig. In the same year, the audience heard the composer's work, The Passion According to John. Soon Bach took the position of "music director" of all city churches. For 6 years" Leipzig period» Johann Bach wrote 5 annual cycles of cantatas, two of which are lost.

The city council gave the composer 8 choral performers, but this number was extremely small, so Bach hired up to 20 musicians himself, which caused frequent clashes with the authorities.

In the 1720s, Johann Bach composed mainly cantatas for performance in the churches of Leipzig. Wishing to expand the repertoire, the composer wrote secular works. In the spring of 1729, the musician was appointed head of the College of Music, a secular ensemble founded by Bach's friend Georg Philipp Telemann. The ensemble held two-hour concerts twice a week throughout the year at the Zimmerman Coffee House next to the market square.

Most of the secular works composed by the composer from 1730 to 1750, Johann Bach wrote for performance in a coffee house.

These include the playful "Coffee Cantata", the comic "Peasant Cantata", clavier pieces and concertos for cello and harpsichord. During these years, the famous "Mass in B minor" was written, which is called the best choral work of all time.

For spiritual performance, Bach created the High Mass in B minor and the St. Matthew Passion, receiving from the court as a reward for his work the title of royal Polish and Saxon court composer.

In 1747, Johann Bach visited the court of King Frederick II of Prussia. The nobleman offered the composer musical theme and asked to write an improvisation. Bach, a master of improvisation, immediately composed a three-voice fugue. Soon he supplemented it with a cycle of variations on this theme, called it "Musical Offering" and sent it as a gift to Frederick II.

Another large cycle, called The Art of the Fugue, Johann Bach did not finish. The sons published the cycle after the death of their father.

IN last decade the composer's fame faded: classicism flourished, contemporaries considered Bach's style old-fashioned. But young composers, brought up on the works of Johann Bach, revered him. The work of the great organist was loved and.

The surge of interest in the music of Johann Bach and the revival of the composer's fame began in 1829. In March, pianist and composer Felix Mendelssohn organized a concert in Berlin, where the work "St. Matthew Passion" was performed. An unexpectedly loud resonance followed, the performance gathered thousands of spectators. Mendelssohn went with concerts to Dresden, Konigsberg and Frankfurt.

The work of Johann Bach "Musical Joke" is still one of the favorites for thousands of performers in the world. Fervent, melodic, tender music sounds in different variations, adapted to playing on modern instruments.

Bach's music is popularized by Western and Russian musicians. Vocal ensemble The Swingle Singers released the debut album Jazz Sebastian Bach, which brought a team of eight vocalists world fame and a Grammy Award.

Processed the music of Johann Bach and jazz musicians Jacques Loussier and Joel Spiegelman. I tried to pay tribute to the genius Russian performer.

Personal life

In October 1707, Johann Sebastian Bach married a young cousin from Arnstadt, Maria Barbara. The couple had seven children, but three died in infancy. Three sons - Wilhelm Friedemann, Carl Philipp Emmanuel and Johann Christian - followed in the footsteps of their father and became famous musicians and composers.

In the summer of 1720, when Johann Bach and Prince Anhalt-Ketensky were abroad, Maria Barbara died, leaving four children.

The personal life of the composer improved a year later: at the court of the Duke, Bach met a young beauty and talented singer Anna Magdalena Wilke. Johann married Anna in December 1721. They had 13 children, but outlived their father 9.

IN old age family for the composer was the only consolation. For his wife and children, Johann Bach composed vocal ensembles, arranged chamber concerts, enjoying the songs of his wife (Anna Bach had a beautiful soprano) and the playing of grown-up sons.

The fate of the wife and youngest daughter of Johann Bach was sad. Anna Magdalena died ten years later in a house of contempt for the poor, and the youngest daughter, Regina, eked out a semi-beggarly existence. IN last years Ludwig van Beethoven helped the woman's life.

Death

In the last 5 years, Johann Bach's eyesight has been rapidly deteriorating, but the composer composed music by dictating works to his son-in-law.

In 1750, the British ophthalmologist John Taylor arrived in Leipzig. The doctor's reputation can hardly be called impeccable, but Bach clung to straws and took a chance. After the operation, the vision did not return to the musician. Taylor operated on the composer for the second time, but a short-term return of vision worsened. On July 18, 1750, a stroke occurred, and on July 28, 65-year-old Johann Bach died.

The composer was buried in Leipzig in the church cemetery. The lost grave and remains were found in 1894 and reburied in a stone sarcophagus in the Church of St. John, where the musician served for 27 years. The temple was destroyed by bombing during World War II, but the ashes of Johann Bach were found and moved in 1949, buried at the altar of the Church of St. Thomas.

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

• Johann Bach's favorite pastime was considered to be visiting provincial churches in the clothes of a poor teacher.
• Thanks to the composer church choirs both men and women sing. Johann Bach's wife became the first church chorus girl.
• Johann Bach did not take money for private lessons.
• The surname Bach is translated from German as "stream".

• Johann Bach spent a month in prison for constantly asking for his resignation.
• Georg Friedrich Handel is a contemporary of Bach, but the composers did not meet. The fates of the two musicians are similar: both became blind as a result of an unsuccessful operation performed by the charlatan doctor Taylor.
• A complete catalog of Johann Bach's works published 200 years after his death.
• The German nobleman ordered the composer to write a work, after listening to which he could fall asleep soundly. Johann Bach fulfilled the request: the famous Goldberg variations - and now a good "sleeping pill".

Bach's aphorisms

• “To get a good night’s sleep, you should go to bed on a different day than you need to wake up.”
• "Keyboarding is easy: you just need to know which keys to press."
• "The purpose of music is to touch hearts."

Discography

• "Ave Maria"
• "English Suite N3"
• "Brandenburg concert N3"
• "Italian Influence"
• "Concert N5 F-Minor"
• "Concert N1"
• "Concerto for Cello and Orchestra D-Minor"
• "Concerto for flute, cello and harp"
• "Sonata N2"
• "Sonata N4"
• "Sonata N1"
• "Suite N2 B-Minor"
• "Suite N2"
• "Suite for orchestra N3 D-Major"
• "Toccata and Fugue D-Minor"

He became famous as a skilled composer and virtuoso performer of organ music. In addition, the musician was also a talented teacher and led concert groups.

Briefly about the composer

During his lifetime, Johann Sebastian did not receive recognition, and only after almost a century did they begin to show interest in his works. Perhaps nothing from the music of the Baroque period is now as popular as the works of Bach. A list by year of these works should be compiled taking into account the main stages of the author's work. Subsequently, the master's works entered the golden fund of eternal classics and are still popular, firmly entering the repertoire of concert performances.

The beginning of creativity

Bach, whose list of works is the subject interesting review, was born in musical family: His father, older brother and sister were musicians. From childhood, the future composer showed an amazing talent for learning to play the violin. Even in his youth, he was seriously carried away by the works of famous composers, did not miss the opportunity to listen to famous masters, constantly studying, replenishing his knowledge.

Very soon he showed himself as a talented organist. He perfectly mastered playing this instrument, so even musicians began to turn to him for advice. Bach, whose list of works can be opened by mentioning compositions for organ, imitated his time, but at the same time supplemented the scores folk melodies trying to give it a national sound.

The first works of the composer were chorales, hymns and preludes for organ. These works are distinguished by a solemn, majestic character. However, the works of Bach, the list of which was constantly updated, were diverse in their processing: his early toccata and fugue have a colorful, dramatic sound.

Weimar period (1708-1717)

The flowering of the composer's creative career began at his new place of work, when he received a court position as an organist and musician under one of the German dukes. Here, for the author, there were optimal conditions for creativity: he was free to choose the subject and worked with a very good orchestra.

It was during this period that he created his famous cycle of fugues, which made up the first volume of his well-known work, The Well-Tempered Clavier. None of the musicians of that time was such a virtuoso of organ art as Bach was. The list of the composer's works was constantly expanding: he worked hard, composing and reworking concertos Italian composers. Nine years later, Johann leaves his old job and goes in search of a new one.

In Köthen

The patron of the composer was the prince, who loved music and appreciated the talent of the composer. He gave him the position of Kapellmeister and gave him great freedom of action. Bach's works, the list of which was replenished with works of a secular nature, received approval and recognition. He composed clavier music, suites in French and English themes, more than two dozen preludes, as well as fugues. The creation of the famous Brandenburg Concertos dates back to this time. These days they are usually performed by chamber orchestras.

He also composed several concertos. Bach, whose list of works at that time often consisted of works of an entertaining nature, created sonatas and solo performances for violin and flute that looked like funny songs. Despite this, in his concerts each instrument received an independent sound.

religious music

At this time, Johann Sebastian Bach had already become one of the most famous composers in Germany. Works, the list of which now included religious music, grew rapidly. The author wrote several masses on Gospel stories, which are considered among the best in the composer's work. As musical director of the city's churches, he created a cycle of cantatas for worship, which were based on Protestant chants. Separate mention should be made of the "Mass in B minor", in which the author partially used excerpts from his best cantatas.

secular melodies

However, compositions of a secular, entertaining nature continued to occupy a prominent place in his work: they were given special importance by Johann Sebastian Bach. The works, the list of which quickly increased due to melodies composed especially for the author's musical assembly, entered the treasury of the world repertoire. They are admired to this day. Bach, whose list of works was constantly updated with the most various works, at this time he created his famous "Coffee Cantata", as well as a number of concertos for cello and harpsichord.

In the late 1740s, the composer wrote a new cycle, consisting of a trio, ricercars and canons, which he presented as a gift to the king under the name "Musical Offering". At the same time, he composed a number of fugues, in which his art of creating polyphony was especially clearly manifested. This work did not see the light during the author's lifetime and was published after his death by the composer's sons.

Essay features

The most famous works of Bach, the list of which was presented above, reflect character traits his melodies. The composer is deservedly recognized as a master of polyphony: his fugues and sonatas amaze with their richness of sound, drama, color and variety of sounds. During his lifetime, he was considered consummate master organ games. Then none of the composers could compare with him in this art form.

Another feature is that he worked in all known musical genres of the 18th century, with the exception of opera. However, her motives are still present in a number of his choral works. The author skillfully combined the achievements of northern and southern composers in Western Europe. He was greatly influenced by the work of German, Italian and French musicians.

Bach skillfully combined their melodies, often reworking the works of other composers. Often he edited his own works, which later became the so-called covers, independent and original. He also successfully composed clavier works. Many of them became a kind of guide for writing and performing polyphonic music: Bach's experience introduced students to the technique and more advanced methods of working with musical instruments(clavier exercises).

The value of the composer's work

There is a fairly widespread point of view that after his death Bach was forgotten. However, this is not so: his organ music and chorales continued to sound in churches and have not lost their significance to this day. But the fact is that it was replaced by classicism, which focused not on polyphony, but on harmony. Therefore, indeed, many young composers began to consider the music of Johann Sebastian obsolete.

But such famous authors as Beethoven and Mozart often admired the work of their great predecessor. Both learned from his work, which had big influence to their creativity. Today, the composer's works are an integral part of concert performances, and the same work can be played in different options, since not all of Johann's scores contain complete information about the instrumentation. The works of Bach, the list in Russian of which was presented in the article, is only a short list of the works of this outstanding composer and music teacher.

It remains to inform about Anna Magdalena. She knew the bitterness of early old age. At first, Bach's widow undoubtedly received some assistance from the magistrate; receipts were preserved for receiving sums of money by her. There is no reliable information about the relationship with the stepmother and mother of Bach's sons after his death. Anna Magdalena, at the age of fifty-nine, died on Wednesday, February 27, 1760 in Leipzig, on the Heinenstrasse, apparently in an orphanage for the poor.

The loving and caring wife of the cantor for many years has so often prepared the notes of the next Sunday cantata of her Sebastian in a hurry! In her husband's handwriting, after finishing the last line, she capital letters put on the page words that meant in Italian "the end."

Let this sign complete both our story of life and a brief outline of the works of the great Bach:

Vocal and instrumental works: about 300 spiritual cantatas (199 have survived); 24 secular cantatas (including "Hunting", "Coffee", "Peasant"); motets, chorales; Christmas Oratorio; "Passion for John", "Passion for Matthew", "Magnificat", Mass in B minor ("High Mass"), 4 short masses.

Arias and songs - from the second Notebook of Anna Magdalena Bach.

For orchestra and orchestra with solo instruments:

6 Brandenburg concerts; 4 suites ("overtures"); 7 concertos for harpsichord (clavier) and orchestra; 3 concertos for two harpsichords and orchestra; 2 concertos for three harpsichords and orchestra; 1 concerto for four harpsichords and orchestra; 3 concertos for violin and orchestra; concerto for flute, violin and harpsichord.

Works for violin, cello, flute with clavier (harpsichord) and solo: 6 sonatas for violin and harpsichord; 6 sonatas for flute and harpsichord; 3 sonatas for viola da gamba (cello) and harpsichord; trio sonatas; 6 sonatas and partitas for solo violin; 6 suites (sonatas) for cello solo.

For clavier (harpsichord): 6 "English" suites; 6 "French" suites; 6 partitas; Chromatic fantasy and fugue; Italian concert; The Well-Tempered Clavier (2 volumes, 48 ​​preludes and fugues); Goldberg variations; Inventions for two and three votes; fantasies, fugues, toccatas, overtures, capriccios, etc.

For organ: 18 preludes and fugues; 5 toccata and fugue; 3 fantasies and fugues; fugues; 6 concerts; Passacaglia; pastoral; fantasies, sonatas, canzone, trio; 46 Choral Preludes (from the Organ Book of Wilhelm Friedemann Bach); "Shubler's chorales"; 18 chorales ("Leipzig"); several cycles of choral variations.

Musical offering. The art of the fugue.

1685, March 21 (Gregorian calendar March 31) in the Thuringian city of Eisenach, Johann Sebastian Bach was born, the son of the city musician Johann Ambrose Bach.

1693-1695 - Teaching at school.

1694 - Death of mother, Elisabeth, née Lemmerhirt. Father's remarriage.

1695 - Death of father; moving to older brother Johann Christoph in Ohrdruf.

1696 - early 1700- Education in the Ordruf Lyceum; singing and music lessons.

1700 March 15- Moving to Lüneburg, enrollment as a scholarship holder (singer) in the school of the church of St. Michael.

1703 April- Moving to Weimar, service in the chapel of the Red Castle. August- Moving to Arnstadt; Bach is an organist and teacher of singing.

1705-1706, October - February- A trip to Lübeck, studying the organ art of Dietrich Buxtehude. Conflict with the consistory of Arnstadt.

1707 June 15- Appointment as organist at Mühlhausen. 17 October- Marriage to Maria Barbara Bach.

1708, spring- Publication of the first work, "Election Cantata". July- Moving to Weimar to serve as court organist of the ducal chapel.

1710 November 22- The birth of the first son, Wilhelm Friedemann (the future "Gallic Bach").

1714 March 8- The birth of the second son, Carl Philipp Emmanuel (the future "Hamburg Bach"). Trip to Kassel.

1717 July- Bach accepts the offer of the Keten prince Leopold to become the Kapellmeister of the court chapel.

September- A trip to Dresden, his success as a virtuoso.

October- Return to Weimar; resignation, by order of the duke arrest from 6 November to 2 December. Moving to Keteya. Trip to Leipzig.

1720 May- A trip with Prince Leopold to Karlsbad. Early July- Death of wife Maria Barbara.

1723 February 7- Performance in Leipzig of cantata N 22, as a test for the post of cantor of the Thomaskirche. 26 March- First performance of the Passion according to John. May- Taking office as cantor of St. Thomas and the teacher of the school.

1729 February- Performance of the "Hunting Cantata" in Weissenfels, receiving the title of Court Kapellmeister of Saxe-Weissenfels. April 15- First performance of the Matthew Passion at the Thomaskirche. Differences with the council of Thomasshule, and then with the magistrate, because of the order at the school. Bach leads the Telemann student circle, Collegium musicum.

1730 October 28- A letter to a former school friend G. Erdman describing the unbearable circumstances of life in Leipzig.

1732 - Performance " Coffee cantata». 21st of June- The birth of the son of Johann Christoph Friedrich (the future "Bückeburg Bach").

1734 end of December- Performance of "Christmas oratorio".

1735 June- Bach with his son Gottfried Bernhard in Mühlhausen. The son passes the test for the position of organist. September 5 the last son, Johann Christian (the future "London Bach") was born.

1736 - The beginning of a two-year "fight for the prefect" with the rector Tomasshule I. Ernesti. November 19 In Dresden, a decree was signed conferring the title of royal court composer on Bach. Friendship with the Russian Ambassador G. Keyserling. December 1- A two-hour concert in Dresden on the Silbermann organ.

1738 April 28- "Night music" in Leipzig. Bach completes his High Mass.

1740 - Bach terminates the leadership of the "Musical Collegium".

1741 - In the summer, Bach with his son Emmanuel in Berlin. Trip to Dresden.

1742 - The publication of the last, fourth volume of "Exercises for the Clavier". August 30- Performance of the "Peasant Cantata".

1745 - Test in Dresden of a new body.

1746 - Son Wilhelm Friedemann becomes director of urban music in Halle. Bach's trip to Zshortau and Naumberg.

1749, January 20- Betrothal of daughter Elisabeth to Bach's student Altnicol. Beginning of The Art of Fugue. In summer- Illness, blindness. Johann Friedirch enters the Bückeburg chapel.

1750 January- Unsuccessful operations on the eyes, complete blindness. Composing the counterpoints of The Art of the Fugue and the Fugue on topic B-A-C-H. Completion of chorale processing.

WITH early years Bach felt his vocation in the field of organ, tirelessly studied the art of organ improvisation, which was the basis of his composing skills. As a child, in his native Eisenach, he listened to his uncle play the organ, and then, in Ohrdruf, his brother. In Arnstadt, Bach himself began to work as an organist, and undoubtedly already there he tried to compose for the organ, although his choral adaptations, which embarrassed the Arnstadt parishioners with their unusualness, have not reached us. As an organist, the composer also served in Weimar, where his original organ style was fully formed. As you know, it was during the Weimar years that exceptional activity in the field of Bach's organ creativity took place - most of the organ works were created: Toccata and fugue in d-moll, Toccata, adagio and fugue in C-dur, Prelude and fugue in a-moll, Fantasia and fugue in g-moll , Passacaglia c-moll and many others. Even when, due to circumstances, the composer switched to another job, he did not part with a portable - portable organ. It should not be forgotten that Bach's oratorios, cantatas, passions sounded in the church accompanied by the organ. It was through the organ that Bach was known to his contemporaries. In organ improvisations, he reached the highest perfection, shocking everyone who could hear him. The famous organist Jan Reinken, already in his declining years, having heard Bach play, said: “I thought that this art had died a long time ago, but now I see that it lives in you!”

The main features of the organ style

In the Bach era, the organ was the "king of all instruments" - the most powerful, full-sounding and colorful. It sounded under the spacious vaults of church cathedrals with their spatial acoustics. Organ art was addressed to the broad masses of listeners, hence such qualities of organ music as oratorical pathos, monumentality, concert. Such a style required extended forms and virtuosity. Organ works are similar to monumental (fresco) painting, where everything is presented in close-up. It is not surprising that Bach created the most majestic instrumental works for the organ: Passacaglia in c-minor, Toccata, adagio and fugue in C-dur, Fantasia and fugue in g-minor and others.

Traditions of German organ art. Choral preludes.

Bach's organ art grew on rich soil, because it was the German masters who played the most important role in the development of organ music. In Germany, organ art has reached unprecedented proportions, a whole galaxy of remarkable organists has come to the fore. Bach happened to hear many of them: in Hamburg - J. Reinken, in Lübeck - D. Buxtehude, who was especially close to Bach. From his predecessors, he took over the main genres of German organ music - fugue, toccata, chorale prelude.

IN organ creativity Bach can be divided into 2 genre varieties:

• chorale preludes , as predominantly small compositions;
• "small" polyphonic cycles , as works of a large form. They consist of some introductory piece and a fugue.

Bach wrote more than 150 choral preludes, most of which are contained in 4 collections. A special place among them is occupied by the "Organ Book" - the earliest (1714-1716), consisting of 45 treatments. Later, the collection "Clavier Exercises" appeared, including 21 arrangements, some of which are designed for organ performance. The next collection - of 6 pieces - is known as the "Shubler chorales" (after the publisher and organist Schuebler, a student of Bach). The last collection of choral arrangements - "18 chorales" - the composer prepared for publication shortly before his death.

With all the variety of Bach's choral preludes, they are united by:

• small scale;
• the dominance of the melodic principle, since the genre of choral processing is associated with vocal melodies;
• chamber style. In the choral preludes, Bach emphasized not the enormous resources of powerful organ sound, but its colorfulness, timbre richness;
• widespread use of polyphonic techniques.

The circle of images of choral preludes is connected with the content of the chorales underlying them. In general, these are examples of Bach's philosophical lyrics, reflections on a person, his joys and sorrows.

Prelude Es-dur

Her music has a majestically calm, enlightened character, it develops smoothly and unhurriedly. The theme of the chorale is rather monotonous in rhythmic and melodic terms. It is based on moving along stable scale steps with multiple repetitions of one sound. However, Bach begins his prelude not with a chorale melody, but with own theme- more melodious, flexible and mobile, and at the same time akin to the chorale.

Developing, this theme is continuously enriched intonation and rhythm. Widely chanted phrases appear in it, the range expands. Along with this, instability is aggravated in it, the motive of a sigh is repeated sequentially, which becomes a means of forcing expression.

The tonal plan of the prelude covers related flat keys. Ladotonal development is directed from light major colors to a darker minor color in the middle, and then to the return of the original light sound.

The sparse, clear texture of the prelude is based on two main melodic lines that are far behind each other (this creates a sense of spatial breadth). The middle voices, where the theme of the chorale is stated, are included later and also have melodic independence.

Prelude f-moll

("I call to you, Lord")

In this prelude, the melody of the chorale is placed in the upper voice, it dominates, defining the whole appearance of the work. Bach owns the harmonization of the melody and the creation of the texture of the accompaniment.

The theme of the chorale is distinguished by song, based on smooth soft intonations. Rhythmic monotony, emphasized by the smooth movement of the basses, gives the music rigor and composure. The main mood is deep concentration, sublime sadness.

Three plans are clearly distinguished in the texture: the upper voice (actually the theme of the chorale, the sound of which in the middle register resembles singing), the bass line and the middle voice - intonationally very expressive and rhythmically mobile. Form 2-part. The first section is clearly divided into sentences, ending with a clear cadence. The second one develops more continuously.

Two-part polyphonic cycles

Two-part compositions, consisting of some kind of introductory piece (prelude, fantasy, toccata) and fugue, were already found among composers of the pre-Bachian generation, but then they were the exception rather than the rule, the pattern. Either independent, unrelated fugues, toccatas, fantasies, or single-movement compositions prevailed. mixed type. They freely combined prelude-improvisational and fugue episodes. Bach broke with this tradition by distinguishing between contrasting spheres in two individual but organically. interconnected parts of a polyphonic cycle. In the first part, the free, improvisational beginning was concentrated, in the second - the fugue - strictly organized. Musical development in a fugue, it always obeys the laws of logic and discipline, proceeds in a strictly defined “channel”. Well thought out system compositional techniques fugue had already developed before Bach, in the work of his predecessors - the German organists.

The introductory parts of the polyphonic cycle did not have such a "setting". They were developed in the practice of free preluding on the organ, that is, they differed improvisational nature - complete freedom in the expression of emotions. They are characterized by:

• "general forms" of movement - virtuoso passages, harmonic figurations, that is, movement along the sounds of chords;
• sequential development of small melodic cells;
• free change of pace, episodes of different nature;
• bright dynamic contrasts.

Each polyphonic Bach cycle has its own unique appearance, individual artistic decision. The general and obligatory principle is harmonious unity of its two constituent parts. This unity is not limited to a common tonality. So, for example, in the most popular Bach organ cycle - Toccata and fugue d minor- the unity of the composition follows from the multilateral internal communications toccatas and fugues.

The music of the toccata gives the impression of mighty power, rebelliousness. Majestic pathos captures from the very first sounds entry- small, but very effective, setting the tone for everything to come. The introductory theme begins, as it were, immediately from the culmination (“source top”), on ff, in a powerful organ unison. It is based on declamatory, oratorical, invocative intonations, which, thanks to their strong sonority and meaningful pauses, sound very impressive.

The same intonations underlie fugue themes- descent along the scale of the minor mode from the fifth degree to the introductory tone. Thanks to the non-stop ostinato run of the 16th fugue music has an active, energetic, motor character. In its theme there is a clear similarity with the second section of the toccata - the presence of a hidden two-voice, repeated repetition of the sound "la", the same rhythmic pattern. Essentially, both themes are perceived as two versions of the same thematic material(fugue theme - how mirror reflection 2nd section of the toccata).

On a larger scale, the unity of toccata and fugue lies in the cycle compositions. The culmination of the whole work is the final section of the fugue - a large coda of a pathetic nature. Here images of toccata return, and polyphonic devices give way to homophonic-harmonic ones. Massive chords and virtuoso passages sound again. Thus, in the cycle there is a feeling of tripartiteness (toccata - fugue - toccata coda).

In addition, there is another feature in the d-moll fugue that emphasizes its relationship with the toccata - an abundance of interludes. Interludes mainly consist of "broken" chords, their sequential development. Thanks to this, the polyphonic style of the fugue is somewhat closer to homophonic-harmonic, echoing the improvisational style of the toccata.

The unification of the two parts of the polyphonic cycle may be based not on kinship, but on the contrary, on a bright contrasting comparison of their musical images. This is how, for example, the G minor organ cycle is built.

Fantasy and fugue g-moll

Music fantasies its origins are associated with the harsh and majestic images of Bach's choral works - his B-minor mass or passions. It compares two contrasting emotional spheres. The first is tragic. The combination of powerful chords with a monophonic recitative in a tense tessitura is like alternating a choir with a solo voice. Musical development takes place in an atmosphere of increasing tension. Thanks to the organ point, sharply unstable, dissonant chords arise, recitative phrases gradually become more and more saturated with drama.

The second theme is the opposite of the first in all its components. Against the background of the measured calm moves of the lower voice, the upper voices imitate a small lyrical chant based on a diminished triad. Minor scales, softness of sound give the music a touch of sublime detachment. It ends thoughtfully and sadly with a descending second intonation.

Almost the entire further continuation of the fantasy is occupied complex development first topic. The dramatic nature of the overall sound is exacerbated by a brief reprise of the second theme, raised to a higher register.

The tragedy of fantasy is opposed by energy and activity fugues. It is distinguished by its dance character and obvious connections with everyday life. secular music. Proximity to folk-genre origins is manifested, in particular, in the recapitious structure of the theme, its completeness, in the periodicity of rhythmic accents. Wide, “brisk” leaps into fifths and octaves stand out in the theme, which, combined with a springy, elastic rhythm, create a very dynamic image. The energy of the movement is also supported by the tonal development: the tonic and dominant of the main key are compared with the tonic and dominant of the parallel major.

The form of the fugue is based on the reprise tripartiteness. The first part consists of an exposition and a counter-exposition, followed by a large middle developmental part and an abbreviated recapitulation. Each theme is preceded by detailed interludes.

The organ cycle C-dur is also distinguished by a huge internal contrast, the composition of which is expanded by including one more, 3rd, movement.

Toccata, adagio and fugue C-dur

Line figurative development it is directed here from the majestic pathos of the toccata to the sublime lyrics of the Adagio, then to the powerful Grave (the final section of the Adagio) and, finally, to the dance dynamics of the fugue.

The basic principle of construction toccata- improvisation. It consists of several relatively complete sections, which differ from each other in the type of melodic movement (these are either virtuoso passages, or sequential development of small melodic turns, or chord figuration - movement along the sounds of chords). At the same time, there is a clear unifying logic in toccata: a steady increase from the beginning to the end - the final majestic peak. It is achieved by gradually increasing the overall sonority, compacting the texture (due to the branching of voices, their roll calls in different registers). At the last stage of this movement, the most low sounds organ - organ pedal.

IN Adagio everything is in contrast with the toccata: minor key(parallel a-moll), chamber sounding - in the spirit of choral preludes, the same type of texture throughout (leading voice and accompaniment), homogeneous thematic, lack of virtuoso brilliance, bright culminating ups. Throughout the Adagio, a mood of deep concentration is maintained.

The final 10 bars of Adagio are very different from the previous ones. The character of the music becomes majestic and solemn here.

Large 4-voice fugue written written on a theme of wide extent. It is diatonic, based on dance turns, which, in combination with the 6/8 time signature, give the music a resemblance to a gigue. The theme is held 11 times: 7 times in the exposition, 3 times in development and 1 time in the recapitulation. Thus, most developments occupy sideshows.

The free form of the toccata consists of several episodes, clearly demarcated from one another. Differing in textural, dynamic, register relation, they are related:

• mood of majestic pathos;
• the steady increase in dramatic tension, reaching its highest intensity at the conclusion of the toccata;
• by the nature of the theme.