Biography of Sibostyan Bach

The bang is not new, not old, he is much more - he is an eternal Schumann year by the root of the branchy genealogical tree of the ancient burgher family of Bachs. In Germany, the words “bang” and “musician” have been synonyms for several centuries. However, only in the fifth generation “from their midst, it was Johann Sebastian Bach, the beauty and pride of the surname and the fatherland, the person who, like no other, was patronized by the very art of music.” So he wrote in the city of Forkel - the first biographer and one of the first true connoisseurs of the composer at the dawn of the new century, for the age of Bach said with the Great Cantor immediately after his death.

But even during the life of the chosen one, “art of music” was hard to call the chosen one of fate. Bach was born in a small Turing city of Eisenaha, who spread near the legendary Vartburg Castle, where in the Middle Ages, according to legend, the color of the minnezang converged, and in the GG. Luther: In Wartburg, the Great Reformer translated the Bible into the language of the Fatherland.

Bach was not a child prospect, but since childhood, being in a musical environment, he received a very thorough education. At first, under the leadership of the older brother of I. Bach and school cantors I. Arnold and E. Herda in Ordruf, then at the school at the Church of St. Michael in Luneberg by 17 years he owned harpsichord, violin, alt, organ, and after the mutation of the vote acted as a prefect assistant to the cantor assistant.

From an early age, Bach felt an organ of the field with his calling, tirelessly studied both medium and Northemetan masters-I. Perelbel, I. Leva, G. Bema, J. Raninen-the art of organ improvisation, which was the basis of his composer skill. This should be added to a widespread acquaintance with European music: Bach took part in concerts known for his French tastes in the court chapel in the costume, had access to the Italian masters stored in the school library, and finally, during the repeated visits of Hamburg, he could get acquainted with the opera there.

In the city of constant desire for improvement, his musician career was also noted, connected according to the tradition of time with the church, city or yard. Not by the will of the chance that provided this or that vacancy, but he firmly and persistently rose to the next step of the musical and service hierarchy from the organist Arnstadt and Mülhausen, to the accompanist Weimar,, the dropmaster of Koet,, finally, the cantor and director of the music of Leipzig, while next to Bach-next to Bach.

Bach-composer was gaining strength by a practical musician, who, in his creative motives and achievements, stepped far beyond the specific tasks that were set before him. The reproaches of the Arnstadt organist that he made in “Choral has many strange variations of Bach - the father of his first wife, Maria Barbara, I. Pichelbel, V. Tsakhov, as well as the composer and theorist G., to even more extent, these reproaches could relate to the early organ cycles of Bach, whose plan began to take shape in Arnstadt.

Especially after visiting in the winter. Lyubeck, where he headed at the call of D. Boystehuda, the famous composer and the organist was looking for a successor, ready to marry his only daughter with a place in Marienkirche. Bach did not remain in Lubeck, but communication with Buysteuad laid a significant imprint on all his further work. Bach moves to Mühlhausen in order to take the post of organist in the Church of the Holy, which gave the possibilities somewhat larger than in Arnstadt, but clearly insufficient to ensure that, in the words of Bach himself, “Bach will fulfill these intentions at the court of the Duke of Ernst Saksen-Weremarsky, where he was waiting for versatile activities both in the castle church and in the castle church and in the castle church and in chapel.

In Weimar, the first and most important feature in the organ sphere is summed up. The exact dates were not preserved, but, apparently, there were completed among many others such masterpieces as Tokkata and Fuga Republic, Preludes and Fugue to Minor and FI Minor, Tokkata to the Major, Passacaly to Minor, as well as the famous “Organization Book”, in which the beginner organist is given leadership, as in every possible way to carry out chorals.

” The glory of Bach spread far - “The best expert and adviser, especially in terms of the disposition, is so, the failed competition with the famous French organist and harpsichordist L. Marshan, who left the “battlefield” before meeting with an opponent. With the appointment in the city, mainly in the genre of the new cantata with a synthetic textual basis, biblical sayings, chorary stanzas, free, “madrigal” poetry and the corresponding musical components orchestral introduction, “dry” and accompanied recitables, arias, chorele.

However, the structure of each cantata is far from any stereotypes. Bach did not forget about the "accumulated repertoire" of other composers. These, for example, were preserved in the Bakho copies of the Weimar times, most likely prepared for the upcoming performances of the “passion for Luke” of an unknown author for a long time were mistakenly attributed to Bach and “Passion for Mark” by R.

R.Kaiser, who served as a model for their own works in this genre. Bach is no less active - Kammermusicus and an accompanist. Being in the thick of the intensive musical life of the Weimar court, he could get wide to get acquainted with European music. As always, in Bach this acquaintance was creative, as evidenced by organ processing of concerts A. Vivaldi, clavier - A.

Marcello, T. Albinoni and others. The Weimar years are also characterized by the first appeal to the genre of solo violinata and suite. All these instrumental experiments found their brilliant implementation on a new basis: in Bach he was invited to Ketel to the post of Grand Duke Alang of City Polmaster. A very favorable musical atmosphere reigned here thanks to the very prince Leopold Angalt-Ketensky-a passionate music lover and musician, who owned the game on the harpsichord, Gamba, who had a notorious voice.

The creative interests of Bach, whose responsibilities included the accompaniment of the singing and game of the prince, and most importantly, the leadership of an excellent chapel consisting of experienced orchestra, naturally move to the instrumental region. Solo, mainly violin and orchestral concerts, including the incomplete register of the Keten “crop”. In Kuten, it opens more or rather, if you keep in mind the “organ Book” another line in the work of the master: the compositions of the pedagogical purpose, expressed by the Bakhov language, “for the benefits and use of musical youth striving for the teachings of musical youth.” The first in this series - “The Note Notebook of Wilhelm Friedeman Bach” was started in the city here in addition to dance miniatures and processing of chorals - prototypes 1 volume of the “well -tempered clavier” of the prelude, two and three -headed “inventions” of preamble and fantasy.

The Bach itself will complete these meetings, respectively, in and gg. In Kuten, “Anna Magdalena Bach, the composer’s second wife, was launched in Kuten, including 5 out of 6“ French Suyuts ”, along with plays of different authors. In the same years, “little preludes and fuguette”, “English suits”, “chromatic fantasy and fugue”, etc. were created. Just as a number of Bakho students multiplied from year to year, its pedagogical repertoire was replenished, which was destined to become a school of performing art for all subsequent generations of musicians.

The list of Keten opus would be incomplete without mentioning vocal works. This is a number of secular cantata, for the most part not preserved and received a second life with a new, spiritual text. In many ways, the underlying work in the vocal region, which does not lie on the surface in the Reformed Church of Kuten, “regular music” was not required to give its fruits in the last and most extensive period of the work of the master.

In the new field of the cantor of the School of St. Leipzig - the end station of the Bachs. Outwardly, especially judging by the second part of its title, the desired top of the service hierarchy was achieved here. At the same time, the “obligation” of 14 control points, which he was supposed to sign “in connection with the entry over” and the failure of which was fraught with conflicts with the church and city authorities, indicates the whole complexity of this segment of Bach’s biography.

The first 3 years were given to church music. Until the ramps with the authorities began and the magistrate financed liturgical music, which means that it was possible to attract professional musicians to the execution of professional musicians, the energy of the new Kantor knew no boundaries. The entire Weimar and Ketesta experience has shimmering into Leipzig's work. The scale of the planned and made during this period is truly immeasurable: more cantata created weekly!

The premiere of this most monumental creation of Bach does not fall on, as it was still believed, but in G. a decrease in the intensity of Canturious activity, the reasons for which Bach formulated in the well -known “Project of good setting of affairs in church music with adding some unbiased considerations regarding the decline of it” on August 23 The Bach-CapelMaster again enters the advance scene, who led the student “Collegium musicum” this time.

Bach led this circle in gg. Weekly concerts in the Cimmermanovsky Garden or in the Zimmermanovsky coffee shop, Bach made a huge contribution to the public musical life of the city. The repertoire is the most diverse: symphony orchestral suits, secular cantata and, of course, concerts - “bread” of all amateur and professional assembly of the era. It was here that the Lipzig variety of Bakho concerts was most likely arising - for a clavier with an orchestra, which are the processing of his concerts for violin, violin and Goboy, etc.

Among them are classical concerts of Reinor, FI Minor, La Major. With the active assistance of the Bakhovsky circle, the actual urban musical life of Leipzig also proceeded, whether it was “solemn music on the radiant day of the name Augustus II, performed in the evening when illuminated in the Tsimmerman Garden”, or “evening music with pipes and liths” in honor of the same August, or the excellent “night music with many wax pipe and liter”, etc.

In this list of “Music” in honor of the Saxon Electors, a special place belongs to the III Missa Kyrie, Gloria, a part of another monumental creation of Bach - Mass of Si Minor, completed only in the GG. In the last decade, the bang is most focused on music free from any applied goal. These are the 3rd volume of the “well -tempered clavier”, as well as partners, the “Italian concert”, “Organ Mass”, “Aria with various variations” after the death of Bach called the Goldberg, included in the collection “Clawar exercises”.

Not an example of liturgical music, which Bach, apparently, considered a tribute to the craft, he sought to make his non -applied opuses the property of the general public. Under his own version, clavier exercises, a number of other works were published, in T. Mizler organized a “first of equals” in Leipzig, a counterpoint, or, as we would say now, polyphony. At different times, G.

Teleman enters into society, G. In the same year, the composer visited the royal residence in Potsdam, where he improvised on the new instrument - piano - before Friedrich II on the topic set by him.