The most popular works of Bach list. Bach's most famous work

19.04.2019

WITH early years Bach felt the organ field was his calling and tirelessly studied the art of organ improvisation, which was the basis of his compositional 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 arrangements, which confused the Arnstadt parishioners with their unusualness, have not reached us. The composer also served as an organist in Weimar, where his original organ style was fully formed. As you know, it was during the Weimar years that exceptional activity occurred in the field of Bach’s organ creativity - 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 his portable organ. We must not forget that Bach’s oratorios, cantatas, and passions were played in the church, accompanied by an organ. It was through the organ that Bach was known to his contemporaries. He achieved the highest perfection in organ improvisations, stunning everyone who could hear him. The famous organist Jan Reincken, already in his declining years, heard Bach play and said: “I thought that this art had died long ago, but now I see that it lives in you!”

Main features of the organ style

In Bach's 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, and concert performance. This style required extensive 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 specifically for the organ: Passacaglia in C-moll, Toccata, adagio and fugue in C-dur, Fantasia and fugue in G-moll and others.

Traditions of German organ art. Chorale preludes.

Bach's organ art grew on rich soil, because it was German masters who played the most important role in the development of organ music. In Germany, organ art has reached an unprecedented scale, and a whole galaxy of wonderful organists has emerged. Bach had a chance to hear many of them: in Hamburg - J. Reincken, in Lubeck - D. Buxtehude, who was especially close to Bach. From his predecessors he adopted the main genres of German organ music - fugue, toccata, chorale prelude.

In Bach’s organ work, two genre varieties can be distinguished:

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

Bach wrote more than 150 chorale 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 arrangements. Later, the collection “Keyboard Exercises” appeared, including 21 arrangements, some of which were designed for organ performance. The next collection - of 6 pieces - is known as the “Schubler chorales” (named after the publisher and organist Schubler, a student of Bach). The composer prepared the last collection of choral arrangements - “18 chorales” - for publication shortly before his death.

With all the diversity of Bach's chorale preludes, they are united by:

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

The range of images of chorale preludes is associated with the content of the underlying chorales. In general, these are examples of Bach's philosophical lyrics, reflections on man, his joys and sorrows.

Prelude in Es major

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

As it develops, this theme is continuously enriched intonationally and rhythmically. Widely chanted phrases appear in it, and the range expands. Along with this, instability in it intensifies, the motif of a sigh is repeated sequentially, which becomes a means of intensifying expression.

The tonal plan of the prelude covers related flat keys. The tonal 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, far apart from each other (this creates a feeling of spatial breadth). The middle voices, where the theme of the chorale is stated, are included later and also have melodic independence.

Prelude in f minor

(“I call upon you, Lord”)

In this prelude, the melody of the chorale is placed in the upper voice; it dominates, determining the entire appearance of the work. Bach is responsible for harmonizing the melody and creating the texture of the accompaniment.

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

The texture clearly distinguishes three levels: the upper voice (the theme of the chorale itself, the sound of which in the middle register resembles singing), the bass line and the middle voice - intonationally very expressive and rhythmically mobile. 2-part form. The first section is clearly divided into sentences and ends with a clear cadence. The second 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-Bakhov generation, but then they were the exception rather than the rule, a pattern. Either independent, unrelated fugues, toccatas, fantasies, or one-part compositions predominated mixed type. They freely combined prelude-improvisation and fugue episodes. Bach broke this tradition by distinguishing contrasting spheres in two individual, but organically interconnected parts of the polyphonic cycle. The first part concentrated a free, improvisational element, while the second - a fugue - was strictly organized. Musical development in a fugue it always obeys the laws of logic and discipline and flows in a strictly defined “channel”. Well-thought-out system compositional techniques The fugue had already taken shape before Bach, in the work of his predecessors - German organists.

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

“general forms” of movement - virtuosic passages, harmonic figurations, that is, movement according to the sounds of chords;
sequential development of small melodic cells;
free change of pace, episodes of different nature;
bright dynamic contrasts.

Each polyphonic cycle by Bach has its own unique appearance and individual artistic solution. The general and mandatory principle is harmonious unity of its two constituent parts. This unity is not limited to the general tonality. So, for example, in the most popular Bach organ cycle - Toccata and Fugue d-moll- the unity of the composition follows from the multilateral internal connections of the toccata and fugue.

The music of the toccata gives the impression of powerful strength and rebellion. The majestic pathos captivates from the very first sounds introductions- small, but very effective, setting the tone for everything that follows. The opening theme begins, as it were, immediately with the culmination (“peak-source”), at ff, in a powerful organ unison. It is based on declamatory, oratorical, appealing intonations, which, thanks to strong sonority and meaningful pauses, sound very impressive.

The same intonations underlie fugue themes- descent along the scale of a minor mode from the V degree to the leading tone. Thanks to the non-stop ostinato running of 16th notes, fugue music has an active, energetic, motor character. Its theme also has a clear similarity with the second section of the toccata - the presence of hidden two-voices, repeated repetition of the sound “A”, and the same rhythmic pattern. Essentially, both themes are perceived as two variants of the same thematic material (the theme of the fugue is a mirror image of the 2nd section of the toccata).

In more close-up the unity of toccata and fugue lies in the very cycle compositions. The culmination of the entire work is the final section of the fugue - a large coda of a pathetic nature. Here the images of the toccata return, and polyphonic techniques give way to homophonic-harmonic ones. Massive chords and virtuosic passages sound again. Thus, a feeling of tripartiteness arises in the cycle (toccata - fugue - toccata coda).

In addition, the d minor fugue has another feature that emphasizes its relationship with the toccata - the abundance of interludes. Interludes mainly consist of “broken” chords and their sequential development. Thanks to this, the polyphonic style of the fugue somewhat approaches the homophonic-harmonic style, echoing the improvisational style of the toccata.

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

Fantasia and fugue g-moll

Music fantasy its origins are associated with harsh and majestic images choral works Bach - his B minor Mass or Passions. It compares two contrasting emotional spheres. The first is tragic. The combination of powerful chords with a single-voice recitative in a tense tessitura is similar to the alternation of a choir with a solo voice. Musical development takes place in an atmosphere of increasing tension. Thanks to the organ section, sharply unstable, dissonant chords arise, and 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 backdrop of measuredly calm moves of the lower voice, the upper voices imitate a small lyrical chant based on a diminished triad. Minor modes, the softness of the sound gives 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 by the complex development of the first theme. The drama of the overall sound is aggravated 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 secular music. The closeness to the folk genre origins is manifested, in particular, in the reprise structure of the theme, its completeness, and the periodicity of rhythmic accents. The theme highlights wide, “brisk” leaps of fifths and octave, which, in combination with a springy, elastic rhythm, create a very dynamic image. The energy of movement is also supported by modal tonal development: the tonic and dominant of the main key are compared with the tonic and dominant of the parallel major.

The fugue form is based on a reprise tripartite. The first part consists of exposition and counter-exposition, followed by a large middle development part and an abbreviated reprise. Each theme is preceded by extensive interludes.

A huge internal contrast also distinguishes the organ cycle in C major, the composition of which is expanded by including another, 3rd, movement.

Toccata, adagio and fugue in C major

Line imaginative development here moves 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.

Basic principle of construction toccatas- 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 the toccata: a steady increase from beginning to end - the final majestic peak. It is achieved by a gradual increase in overall sonority, thickening the texture (due to the branching of voices, their roll calls in different registers). On last stage This movement activates the lowest sounds of the organ - the organ pedal.

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

The final 10 bars of the Adagio are dramatically different from everything that came before. The character of the music here becomes majestic and solemn.

Large 4-voice fugue written written on a topic of wide extent. It is diatonic, based on dance rhythms, which, in combination with the 6/8 time signature, give the music a resemblance to a gigue. The theme is carried out 11 times: 7 times in exposition, 3 times in development and 1 time in reprise. Thus, much of the development is taken up by interludes.

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

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

Toccata and Fugue in D minor, BWV 565 is a work for organ by Johann Sebastian Bach, one of his most popular works.

The work "Toccata and Fugue in D minor BWV 565" is included in all editions of the authoritative BWV catalog and in the (most complete) new edition of Bach's works (Neue Bach-Ausgabe, known as NBA).

The work was supposedly written by Bach during his stay in Arnstadt between 1703 and 1707. In January 1703, after completing his studies, he received the position of court musician to the Weimar Duke Johann Ernst. It is not known exactly what his duties included, but most likely this position was not related to performing activities. During his seven months of service in Weimar, his fame as a performer spread. Bach was invited to the position of organ caretaker at the Church of St. Boniface in Arnstadt, located 180 km from Weimar. The Bach family had long-standing ties to this oldest German city.

In August, Bach took over as organist of the church. He had to work three days a week, and the salary was relatively high. In addition, the instrument was maintained in good condition and was tuned according to a new system that expanded the capabilities of the composer and performer. During this period, Bach created many organ works.

The peculiarity of this small polyphonic cycle is the continuity of development musical material(no break between toccata and fugue). The form consists of three parts: toccata, fugue and coda. The latter, echoing the toccata, forms a thematic arch.

Title page of BWV 565 in a handwritten copy by Johannes Ringk. Due to the fact that Bach's autograph was lost, this copy, as of 2012, is the only source close to the time of creation.

Toccata (in Italian toccata - touch, blow, from toccare - touch, touch) is a virtuoso musical piece for keyboard instruments (clavier, organ).

Beginning of the toccata

Fugue (Italian fuga - running, flight, fast flow) is the most developed form of polyphonic music, which has absorbed all the richness of polyphonic means. The content range of a fugue is practically unlimited, but the intellectual element predominates or is always felt in it. Fugue is distinguished by emotional fullness and at the same time restraint of expression.

This work begins with an alarming but courageous strong-willed cry. It sounds three times, descending from one octave to another, and leads to a thunderous chordal boom in the lower register. Thus, at the beginning of the toccata, a gloomily shaded, grandiose sound space is outlined.

Johann Sebastian Bach's Toccata and Fugue in D Minor BWV 565 played by organist Hans-André Stamm on the Trost-Organ of the Stadtkirche in Waltershausen, Germany.

Then powerful “swirling” virtuosic passages are heard. The contrast between fast and slow movement is reminiscent of cautious respites between fights with the violent elements. And after the freely, improvisationally constructed toccata, a fugue sounds, in which the volitional principle seems to curb elemental forces. And the last bars of the entire work are perceived as a stern and majestic victory of the unyielding human will.

Toccata and Fugue in D minor, BWV 565 is a work for organ by Johann Sebastian Bach, one of his most popular works.

The work "Toccata and Fugue in D minor BWV 565" is included in all editions of the authoritative BWV catalog and in the (most complete) new edition of Bach's works (Neue Bach-Ausgabe, known as NBA).

The peculiarity of this small polyphonic cycle is the continuity of development of the musical material (without a break between the toccata and fugue). The form consists of three parts: toccata, fugue and coda. The latter, echoing the toccata, forms a thematic arch.

Title page of BWV 565 in a handwritten copy by Johannes Ringk. Due to the fact that Bach's autograph was lost, this copy, as of 2012, is the only source close to the time of creation.

Toccata (in Italian toccata - touch, blow, from toccare - touch, touch) is a virtuoso musical piece for keyboard instruments (clavier, organ).

Beginning of the toccata

Johann Sebastian Bach's Toccata and Fugue in D Minor BWV 565 played by organist Hans-André Stamm on the Trost-Organ of the Stadtkirche in Waltershausen, Germany.

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 almost a century later did people begin to show interest in his works. Perhaps none of the music of the Baroque era is now as popular as the works of Bach. A list of these works by year should be compiled taking into account the main stages of the author’s work. Subsequently, the master’s works were included in the golden fund of eternal classics and are still popular, having firmly entered the repertoire of concert performances.

The beginning of creativity

Bach, whose list of works is the subject of an interesting review, was born into a musical family: his father, older brother and sister were musicians. Since childhood, the future composer showed an amazing talent for learning to play the violin. Even in his youth, he became seriously interested in works famous composers, never missed an opportunity to listen to famous masters, and constantly studied, expanding his knowledge.

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

The composer's first works were chorales, hymns and preludes for organ. These works are distinguished by their solemn, majestic character. However, Bach's works, the list of which was constantly replenished, were diverse in their treatment: his early toccatas and fugues have a colorful, dramatic sound.

Weimar period (1708–1717)

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

It was during this period that he created his famous cycle of fugues, which formed the first volume of his famous 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 a lot, 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 composer's patron was the prince, who loved music and appreciated the composer's talent. He gave him the position of bandmaster and gave him greater freedom of action. Bach's works, the list of which was replenished with works of a secular nature, received approval and recognition. He composed keyboard music, suites on 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 this time often included works of an entertaining nature, created sonatas and solo performances for violin and flute that resembled cheerful 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 based on Gospel stories, which are considered one of the best in the composer’s work. As music director of the city's churches, he created a cycle of cantatas for worship, which were based on Protestant chorales. Special 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: Johann Sebastian Bach assigned special importance to them. The works, the list of which quickly increased due to melodies composed specifically for the author’s musical assembly, entered the treasury of the world repertoire. They are admired to this day. Bach, the list of whose works was constantly replenished with the most various jobs, at this time he created his famous “Coffee Cantata”, as well as a number of concerts for cello and harpsichord.

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

Features of essays

Bach's most famous works, the list of which was presented above, reflect the characteristic features of 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. Even during his lifetime, he was considered an unsurpassed master of playing the organ. At that time, none of the composers could compare with him in this form of art.

Another feature is that it worked in all known musical genres XVIII century, with the exception of opera. However, its motifs 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. He often edited his own works, which later became so-called covers, independent and original. He also successfully composed keyboard works. Many of them became a kind of guide for writing and performing polyphonic music: Bach’s experience introduced students to technique and more advanced techniques for working with musical instruments(keyboard exercises).

The significance of the composer's works

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

But such famous authors as Beethoven and Mozart often admired the work of their great predecessor. Both learned from his work, which greatly influenced their work. Nowadays, the composer’s works are an integral part of concert performances, and the same work can be performed in different options, since not all Johann scores contain full information about instrumentation. Bach's works, a list of which was presented in Russian in the article, represents only a short list of the works of this outstanding composer and music teacher.

Vocal and instrumental works: about 300 sacred cantatas (199 preserved); 24 secular cantatas (including “Hunting”, “Coffee”, “Peasant”); motets, chorales; Christmas Oratorio; “John Passion”, “Matthew Passion”, “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 Concertos; 4 suites (“overtures”); 7 concertos for harpsichord (clavier) and orchestra; 3 concertos for two harpsichords and orchestra; 2 concerts for three harpsichords and orchestra; 1 concert for four harpsichords and orchestra; 3 concertos for violin and orchestra; concert 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 solo cello.

For clavier (harpsichord): 6 “English” suites; 6 “French” suites; 6 parts; Chromatic fantasy and fugue; Italian concert; Well-Tempered Clavier (2 volumes, 48 preludes and fugues); Goldberg Variations; Inventions for two and three voices; fantasies, fugues, toccatas, overtures, capriccios, etc.

For organ: 18 preludes and fugues; 5 toccatas and fugues; 3 fantasies and fugues; fugues; 6 concerts; Passacaglia; pastoral; fantasies, sonatas, canzones, trios; 46 chorale preludes (from Wilhelm Friedemann Bach's Organ Book); "Schubler chorales"; 18 chorales (“Leipzig”); several cycles of chorale variations.

Musical offering. The art of fugue.

MAIN LIFE DATES

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

1693-1695 – Studying at school.

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

1695 – Death of father; moving to his elder brother Johann Christoph in Ohrdruf.

1696 – early 1700– Studying at the Ohrdruf Lyceum; singing and music lessons.

1700, March 15– Moving to Lüneburg, enrollment as a scholarship student (chanter) at the school 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 singing teacher.

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

1707, June 15– Confirmation as organist in Mühlhausen. 17 October– Marriage to Maria Barbara Bach.

1708, spring– Publication of the first work, “Elective Cantata”. July– Moving to Weimar to serve as court organist of the Ducal Chapel.

1710, November 22– Birth of the first son, Wilhelm Friedemann (the future “Gallic Bach”).

1714, March 8– Birth of the second son, Carl Philipp Emmanuel (the future “Hamburg Bach”). Trip to Kassel.

1717, July– Bach accepts the offer of Prince Leopold of Köthen to become conductor of the court chapel.

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

October– Return to Weimar; resignation letter, by order of the Duke, arrest from November 6 to December 2. Transfer to Keteya. Trip to Leipzig.

1720, May– A trip with Prince Leopold to Carlsbad. Early July– Death of wife Maria Barbara.

1723, February 7– Performance of cantata No. 22 in Leipzig as a test for the position of cantor of the Thomaskirche. 26 March– First performance of the “St. John Passion.” May– Taking office as cantor of St. Thomas and the school teacher.

1729, February– Performing the “Hunting Cantata” in Weissenfels, receiving the title of court Kapellmeister of Saxe-Weissenfels. April 15– First performance of the St. Matthew Passion in the Thomaskirche. Disagreements with the Thomasshule council and then with the magistrate over school practices. Bach leads the Telemann student circle, Collegium musicum.

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

1732 – Performance of “Coffee Cantata”. 21st of June– Birth of son Johann Christoph Friedrich (future “Bückeburg Bach”).

1734, end of December– Performance of the “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 “struggle for the prefect” with the rector Tomashule I. Ernesti. November 19 A decree was signed in Dresden conferring the title of courtier on Bach. royal composer. 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 the composition of the High Mass.

1740 – Bach ceases to direct the “Musical Collegium”.

1741 – In the summer, Bach is visiting his son Emmanuel in Berlin. Trip to Dresden.

1742 – Publication of the last, fourth volume of “Exercises for the Clavier.” August 30– Performance of “Peasant Cantata”.

1745 – Testing of a new organ in Dresden.

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

1749, January 20– Engagement of daughter Elisabeth to Bach’s student Altnikol. The beginning of the essay "The Art of Fugue". In summer- Illness, blindness. Johann Friedirch enters the Bückeburg Chapel.

1750, January– Unsuccessful eye surgeries, complete blindness. Composing counterpoints of “The Art of Fugue” and fugue on theme B-A-S-N. Completion of processing of chorales.

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Schweitzer L. I. S. Bach. Per. with him. Ya. S. Druskin, translation edition and afterword by M. S. Druskin. M, 1964.

Yampolsky I. M. Sonatas and partitas for solo violin by J. S. Bach. M., 1963.

Bach-Dokumente, Herausgegeben vom Bach-Archiv Leipzig, Band I, Schriftstucke von der Hand Johann Sebastian Bachs. Vorgelegt und erlautert von W. Neumann und H.-J. Schulze, Leipzig, 1963. Band II, Fremdschriftliche und gedruckte Dokumente zur I phensgeschichte I. S. Bachs, 1685-1750. Leipzig, 1969. Band III, Dokumente zum Nachwirken I. S. Bachs, 1750-1880. Leipzig, 1972.

Schmieder W. Thematisch-systematisches Verzeichnis der Werke Johann Sebastian Bachs (BWV), Leipzig, 1971.

Arnstadtes Bachbuch, I. S. Bach und seine Verwanden in Arnstadt. Arnstadt, 1957,

Bach. Opracowal Wladislaw Duleba. Teksty Bohdarr Pociej. Krakow, 1973.

Besseler H. I. S. Bach. Berlin, 1956.

Buchet E. I. S. Bach, l "oeuvre et la vie. Paris, 1963.

Der Thomaskantor, Aus dem Leben und Schaffen I. S. Bachs. Berlin, 1950.

Forkel I. N. Uber lohann Sebastian Bachs Leben, Kunst und Kunstwerke. Berlin, 1968.

Frank H. I. S. Bach, Die Geschichte eines Lebens. Bertin, 1961.

Geiringer K, Johann Sebastian Bach Jhe Culmination of an Era. London, 1967.

Johann Sebastian Bach und Leipzig zu seiner Zeit. Leipzig, 1950.

Johann Sebastian Bach. Das Schaffen des Meisters im Spiegel einer Stadt. Leipzig, 1950.

I. S. Bach, 1750-1950. Dresden, 1950.

Neumann W. Auf den Lebenswegen I. S. Bachs. Berlin, 1962.

Neumann W. Bach, Eine Bildbiographie. Munchen, 1960.

Spitta Ph, I, S, Bach, Bd. l – 2. Leipzig, 1873-1880.

The numbers in brackets everywhere indicate the number of this work based on the book “BWV”: W. Schmieder. Thematisch-sistematische Verzeichnis der Werke lohann Sebastian Bachs. Liepzig, 1971.

Translation by Ksenia Stebneva.

Translated by Ya. S. Druskin.

Some biographers date Bach's trip to Dresden to the autumn of 1714. We stick to the generally accepted date: September 1717. In 1714, Friedemann was only four years old; he could hardly have been taken by his father to Dresden.

See art. B. Kuznetsov “Einstein and Mozart”. " Soviet music", 1971, page 12, p. 38.

Quote from the book: Hammerschlag. If Bach kept a diary, p. 43.

Translation by Ksenia Stebneva.

Emphasized by us. CM.

A. V. Lunacharsky. In the world of music. Articles and speeches. Ed. 2. M., “Soviet Composer”, 1971, p. 312, 314.

V. D. Konen, Bach. "Musical Encyclopedia", vol. 1. M., "Soviet Encyclopedia", 1973, p. 357.

Riemann was mistaken: not six, but five sons outlived their father.

The author of the story does not always give the exact age at which Bach’s children died. Now, based on documentary evidence, the dates of birth and death of the children have been clarified: Christiana Sophia (29.VI.1723-1.VII.1726); Christian Gottlieb (14.IV.1720-21.IX1728); Ernst Andreas (30.X.-1.XI.1727); Regina Johanna (10.H.1728-25.IV.1733); Christian Benedict (1.I.-4.I.1730); Christiana Dorothea (18.III.1731-31.VIII.1732); Johann August (5.XI.-6.XI.1733).

The report in Mizler's journal mentions, in addition to Bach, another conductor of the college - Johann Gottlieb Gerner; he now served as organist at St. Thomas.

G. Chicherin" Mozart. M., "Music", 1970, p. 181.