Johann Sebastian Bach

This article is about the Baroque composer. For his grandson of the same name, see Johann Sebastian Bach (painter). For other uses of Bach, see Bach (disambiguation).

Johann Sebastian Bach

Portrait of Bach, aged 61, by E. G. Haussmann, 1748
Born 21 March 1685 (O.S.)
31 March 1685 (N.S.)
Died 28 July 1750(1750-07-28) (aged 65)
Works List of compositions

Johann Sebastian Bach[lower-alpha 1] (31 March [O.S. 21 March] 1685  28 July 1750) was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over three hundred cantatas of which around two hundred survive.[3] His music is revered for its technical command, artistic beauty, and intellectual depth.

Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.[4]


Places where Bach lived
Johann Ambrosius Bach, Bach's father

Bach was born in Eisenach, in the duchy of Saxe-Eisenach, into a great musical family. His father Johann Ambrosius Bach was the director of the town musicians, and all of his uncles were professional musicians. His father probably taught him to play the violin and harpsichord, and his brother Johann Christoph Bach taught him the clavichord and exposed him to much contemporary music.[5] Apparently at his own initiative, Bach attended St. Michael's School in Lüneburg for two years. After graduating he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, and as Thomaskantor in Leipzig, a position of music director at the main Lutheran churches and educator at the Thomasschule. He received the title of "Royal Court Composer" from Augustus III in 1736.[6][7] Bach's health and vision declined in 1749, and he died on 28 July 1750.

Childhood (1685–1703)

St. George's Church in Eisenach, where Bach was baptised. Portal inscription: "Ein feste Burg ist unser Gott"
The Wender organ Bach played in Arnstadt
See also: Bach family

Johann Sebastian Bach was born in Eisenach, the capital of the duchy of Saxe-Eisenach, in present-day Germany, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt.[8] He was the eighth and youngest child of Johann Ambrosius,[9] who probably taught him violin and the basics of music theory.[10] His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645–93), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist.[11]

Bach's mother died in 1694, and his father died eight months later.[7] The 10-year-old Bach moved in with his eldest brother, Johann Christoph Bach (1671–1721), the organist at St. Michael's Church in Ohrdruf, Saxe-Gotha-Altenburg.[12] There he studied, performed, and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly.[13][14] He received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied) and Johann Jakob Froberger; North German composers;[5] Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, and Marin Marais; and the Italian clavierist Girolamo Frescobaldi. Also during this time he was taught theology, Latin, Greek, French and Italian at the local gymnasium.[15]

By 3 April 1700 Bach and his schoolfriend Georg Erdmann–who was two years Bach's elder–were enrolled in the prestigious St. Michael's School in Lüneburg, some two weeks' travel north of Ohrdruf.[16][17] Their journey was probably undertaken mostly on foot.[15][17] His two years there were critical in exposing Bach to a wider range of European culture. In addition to singing in the choir, he played the School's three-manual organ and harpsichords.[15] He came into contact with sons of aristocrats from northern Germany, sent to the highly selective school to prepare for careers in other disciplines.

While in Lüneburg, Bach had access to St. John's Church and possibly used the church's famous organ from 1553, since it was played by his organ teacher Georg Böhm.[18] Because of his musical talent Bach had significant contact with Böhm while a student in Lüneburg, and also took trips to nearby Hamburg where he observed "the great North German organist Johann Adam Reincken".[18][19] Stauffer reports the discovery in 2005 of the organ tablatures that Bach wrote out when still in his teens of works by Reincken and Dieterich Buxtehude, showing "a disciplined, methodical, well-trained teenager deeply committed to learning his craft".[18]

Weimar, Arnstadt, and Mühlhausen (1703–08)

St. Mary's Church of Lübeck
Portrait of the young Bach (disputed).[20]

In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen,[21] Bach was appointed court musician in the chapel of Duke Johann Ernst III in Weimar.[22] His role there is unclear, but it probably included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ, and give the inaugural recital, at the New Church (now Bach Church) in Arnstadt, located about 30 kilometres (19 mi) southwest of Weimar.[23] In August 1703, he became the organist at the New Church, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys to be used.

Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employer was upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 1705–06, to visit the great organist and composer Dieterich Buxtehude and his Abendmusiken at St. Mary's Church in the northern city of Lübeck. The visit to Buxtehude involved a 450-kilometre (280 mi) journey each way, reportedly on foot.[24]

In 1706, Bach applied for a post as organist at the Blasius Church (also known as St Blasius or as Divi Blasii) in Mühlhausen.[25][26] As part of his application he had a cantata performed on Easter, 24 April 1707, likely an early version of his Christ lag in Todes Banden.[27] A month later Bach's application was accepted and he took up the post in July.[25] The position included a significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. Bach was able to convince the church and town government at Mühlhausen to fund an expensive renovation of the organ at the Blasius Church. In 1708 Bach wrote Gott ist mein König, a festive cantata for the inauguration of the new Council, which was published at the Council's expense.[15]

Return to Weimar (1708–17)

Bach's autograph of the first movement of the Sonata No. 1 in G minor for solo violin (BWV 1001) Audio.

In 1708, Bach left Mühlhausen, returning to Weimar this time as organist and from 1714 Konzertmeister (director of music) at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.[15] Bach and his wife moved into a house close to the ducal palace.[28] Later the same year, their first child, Catharina Dorothea, was born, and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729. Three sons were also born in Weimar: Wilhelm Friedemann, Carl Philipp Emanuel and Johann Gottfried Bernhard. Johann Sebastian and Maria Barbara had three more children who however did not live to their first birthday, including twins born in 1713.[29]

Bach's time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and to include influences from abroad. He learned to write dramatic openings and employ the dynamic motor rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still regularly performed. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.[30]

In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke's ensemble.[15] He also began to write the preludes and fugues which were later assembled into his monumental work The Well-Tempered Clavier (Das Wohltemperierte Klavier"Klavier" meaning clavichord or harpsichord),[31] consisting of two books, compiled in 1722 and 1744,[32] each containing 24 preludes and fugues in every major and minor key.

Also in Weimar Bach started work on the Little Organ Book, containing traditional Lutheran chorales (hymn tunes) set in complex textures. In 1713, Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Market Church of Our Dear Lady. Johann Kuhnau and Bach played again when it was inaugurated in 1716.[33][34]

In the spring of 1714, Bach was promoted to Konzertmeister, an honour that entailed performing a church cantata monthly in the castle church.[35] The first three cantatas Bach composed in Weimar were Himmelskönig, sei willkommen, BWV 182, for Palm Sunday, which coincided with the Annunciation that year, Weinen, Klagen, Sorgen, Zagen, BWV 12, for Jubilate Sunday, and Erschallet, ihr Lieder, erklinget, ihr Saiten!  BWV 172 for Pentecost.[36] Bach's first Christmas cantata Christen, ätzet diesen Tag, BWV 63 was premiered in 1714 or 1715.[37][38]

In 1717, Bach eventually fell out of favour in Weimar and was, according to a translation of the court secretary's report, jailed for almost a month before being unfavourably dismissed: "On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge."[39]

Köthen (1717–23)

Bach's seal, used throughout his Leipzig years. It contains the letters J S B superimposed over their mirror image topped with a crown

Leopold, Prince of Anhalt-Köthen, hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular,[40] including the orchestral suites, the cello suites, the sonatas and partitas for solo violin, and the Brandenburg Concertos.[41] Bach also composed secular cantatas for the court such as Die Zeit, die Tag und Jahre macht, BWV 134a. A significant influence upon Bach's musical development during his years with the Prince is recorded by Stauffer as Bach's "complete embrace of dance music, perhaps the most important influence on his mature style other than his adoption of Vivaldi's music in Weimar".[18]

Despite being born in the same year and only about 130 kilometres (81 mi) apart, Bach and Handel never met. In 1719, Bach made the 35-kilometre (22 mi) journey from Köthen to Halle with the intention of meeting Handel, however Handel had left the town.[42] In 1730, Bach's oldest son Wilhelm Friedemann travelled to Halle to invite Handel to visit the Bach family in Leipzig, but the visit did not come to pass.[43]

On 7 July 1720, while Bach was away in Carlsbad with Prince Leopold, Bach's wife suddenly died.[44] The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano sixteen years his junior, who performed at the court in Köthen; they married on 3 December 1721.[45] Together they had thirteen more children, six of whom survived into adulthood: Gottfried Heinrich; Elisabeth Juliane Friederica (1726–81), who married Bach's pupil Johann Christoph Altnickol; Johann Christoph Friedrich and Johann Christian, who both, especially Johann Christian, became significant musicians; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).[46]

Leipzig (1723–50)

Café Zimmermann, Leipzig, where the Collegium Musicum performed
Bach's grave and altar in the St. Thomas Church, Leipzig

In 1723, Bach was appointed Thomaskantor, Cantor of the Thomasschule at the Thomaskirche (St. Thomas Church) in Leipzig, which provided music for four churches in the city, the Thomaskirche, the Nikolaikirche (St. Nicholas Church), and to a lesser extent the Neue Kirche (New Church) and the Peterskirche (St. Peter's Church).[47] This was "the leading cantorate in Protestant Germany",[48] located in the mercantile city in the Electorate of Saxony, which he held for twenty-seven years until his death. During that time he gained further prestige through honorary appointments at the courts of Köthen and Weissenfels, as well as that of the Elector Frederick Augustus (who was also King of Poland) in Dresden.[48] Bach frequently disagreed with his employer, Leipzig's city council, who he thought were "penny-pinching".[49] After having been offered the position, Bach was invited to Leipzig only after Georg Philipp Telemann indicated that he would not be interested in relocating to Leipzig.[50] Telemann went to Hamburg where he "had his own struggles with the city's senate".[51]

Bach was required to instruct the students of the Thomasschule in singing and to provide church music for the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ four "prefects" (deputies) to do this instead. The prefects also aided with musical instruction.[52] A cantata was required for the church services on Sundays and additional church holidays during the liturgical year. Bach usually led performances of his cantatas, most of which were composed within three years of his relocation to Leipzig. The first was Die Elenden sollen essen, BWV 75, performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant.[36] Of the more than three hundred cantatas which Bach composed in Leipzig, over one hundred have been lost to posterity.[3] Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724, and composed only chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 62, and Wie schön leuchtet der Morgenstern, BWV 1.

Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets.[53] As part of his regular church work, he performed other composers' motets, which served as formal models for his own.[54]

Bach's predecessor as Cantor, Johann Kuhnau, had also been music director for the Paulinerkirche, the church of Leipzig University. But when Bach was installed as Cantor in 1723, he was put in charge only of music for "festal" (church holiday) services at the Paulinerkirche; his petition to provide music also for regular Sunday services there (for a corresponding salary increase) went all the way up to the Elector but was denied. After this, in 1725, Bach "lost interest" in working even for festal services at the Paulinerkirche and appeared there only on "special occasions".[55] The Paulinerkirche had a much better and newer (1716) organ than did the Thomaskirche or the Nikolaikirche. Bach had been consulted officially about the 1716 organ after its completion, came from Köthen, and submitted a report.[56] Bach was not required to play any organ in his official duties, but it is believed he liked to play on the Paulinerkirche organ "for his own pleasure".[57]

Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by Telemann. This was one of the dozens of private societies in the major German-speaking cities that was established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions".[58] Year round, the Leipzig's Collegium Musicum performed regularly in venues such as the Café Zimmermann, a coffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin and keyboard concertos.[15]

In 1733, Bach composed a mass for the Dresden court (Kyrie and Gloria) which he later incorporated in his Mass in B Minor. He presented the manuscript to the Elector in an eventually successful bid to persuade the prince to give him the title of Court Composer.[6] He later extended this work into a full mass, by adding a Credo, Sanctus, and Agnus Dei, the music for which was partly based on his own cantatas, partly newly composed. Bach's appointment as Court Composer was part of his long-term struggle to achieve greater bargaining power with the Leipzig council. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach held the directorship of the Collegium Musicum.

In 1747, Bach visited the court of King Frederick II of Prussia at Potsdam. The king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on one of Frederick's fortepianos, then a novelty, and later presented the king with a Musical Offering consisting of fugues, canons, and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration.

In the same year, Bach joined the Corresponding Society of the Musical Sciences (Correspondierende Societät der musikalischen Wissenschafften) of Lorenz Christoph Mizler. On the occasion of his entry into the Society, Bach composed the Canonic Variations on "Vom Himmel hoch da komm' ich her" (BWV 769).[59] A portrait had to be submitted by each member of the Society, so in 1746, during the preparation of Bach's entry, the famous Bach portrait was painted by Elias Gottlob Haussmann.[60] The Canon triplex á 6 Voc (BWV 1076) on this portrait was dedicated to the Society.[61] Other late works by Bach may also have a connection with the music theory based Society.[62] One of those works was The Art of Fugue, which consists of 18 complex fugues and canons based on a simple theme.[63] The Art of Fugue was only published posthumously in 1751.[64]

Bach's last large work was the Mass in B minor (1748–49) which Stauffer describes as "Bach's most universal church work. Consisting mainly of recycled movements from cantatas written over a thirty-five-year period, it allowed Bach to survey his vocal pieces one last time and pick select movements for further revision and refinement."[18] Although the complete mass was never performed during the composer's lifetime, it is considered to be among the greatest choral works of all time.[65]

Death (1750)

Bach's health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Johann Gottlob Harrer, fill the Thomaskantor and Director musices posts "upon the eventual ... decease of Mr. Bach".[66] Bach was becoming blind, so the British eye surgeon John Taylor twice operated on Bach while visiting Leipzig in March and April 1750.[67]

On 28 July 1750, Bach died at the age of 65.[68] A contemporary newspaper reported "the unhappy consequences of the very unsuccessful eye operation" as the cause of death.[69] Spitta gives some details. He says that Bach died of "apoplexy", a stroke. He, along with the newspaper, says that "Medical treatment associated with the [failed eye] operation had such bad effects that his health ... was severely shaken" and Bach was left totally blind.[70] His son Carl Philipp Emanuel and his pupil Johann Friedrich Agricola co-authored Bach's obituary, which was published in 1754 in Mizler's Musikalische Bibliothek.[71]

Bach's estate included five harpsichords, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, along with 52 "sacred books", including books by Martin Luther and Josephus.[72] He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years, but in 1894, his remains were located and moved to a vault in St. John's Church. This building was destroyed by Allied bombing during World War II, so in 1950 Bach's remains were taken to their present grave in St. Thomas Church.[15] Later research has called into question whether the remains in the grave are actually those of Bach.[73]

Musical style

A handwritten note by Bach in his copy of the Calov Bible. The note next to 2 Chronicles 5:13 reads: "NB Bey einer andächtigen Musiq ist allezeit Gott mit seiner Gnaden Gegenwart" (N(ota) B(ene) In a music of worship God is always present with his grace)
"O Haupt voll Blut und Wunden": the four-part chorale setting as included in the St. Matthew Passion
1. Fantasia

2. Fugue
Bach re-interpreting older genres tied to the modal system

Bach's guide on ornaments as contained in the Klavierbüchlein für Wilhelm Friedemann Bach
"Aria" of the Goldberg Variations, showing Bach's use of ornaments –  Audio
Sonata No. 3 in G minor for viola da gamba and harpsichord BWV 1029 performed by John Michel
1st movement

2nd movement

3rd movement
Continuo instruments moving to the front (here performed on cello and piano)

Keyboard Concerto No. 1 in D minor, BWV 1052 performed by the Fulda Symphonic Orchestra conducted by Simon Schindler with Johannes Volker Schmidt (piano)
1. Allegro

2. Adagio

3. Allegro
Keyboard concerto

Chaconne, 5th movement of Partita for Violin No. 2, BWV 1004
performed by Ben Goldstein as written down by Bach
written for violin like no other...

Brahms' piano version performed by Martha Goldstein
...not less impressive as a piano piece

The Art of Fugue (title page) – Performed by Mehmet Okonsar on organ and harpsichord:  Nos. 1–12 Nos. 13–20
Double Violin Concerto in D minor BWV 1043 performed by the Advent Chamber Orchestra with David Perry and Roxana Pavel Goldstein (violins)
1. Vivace

2. Largo ma non tanto

3. Allegro
A strictly contrapuntal composition (the two violins playing in canon throughout) in the guise of an Italian type of concerto

Analysis of the counterpoint of the chorale prelude Herr Jesu Christ, dich zu uns wend', BWV 632 (Orgelbüchlein)
BWV 632 (extract)
BWV 632 (extract)
the images of this video show the intertwining of melodies and motives, including the melody of the chorale "Herr Jesu Christ, dich zu uns wend'" ( Audio)

To a large extent Bach's musical style fits in the conventions of his day, which is the final stage of the baroque style. When his contemporaries, such as Handel, Telemann and Vivaldi wrote concertos he did so too. When they wrote suites, he did so too. Similar with recitatives followed by da capo arias, four-part choral music, use of basso continuo etc. The specifics of his style lie with characteristics such as his skill in contrapuntal invention and motivic control and his talent for writing tightly woven music of powerful sonority. From an early age he imbued himself with the compositions of his contemporaries and of prior generations, all of what was available from European composers, such as the French, the Italian, and those from all parts of Germany, and there is little of it that didn't appear in his own music.[74]

Religious music was at the centre of Bach's output for much of his life. The hundreds of sacred works he created are usually seen as manifesting not just his craft but a truly devout relationship with God.[75][76] He had taught Luther's Small Catechism as the Thomaskantor in Leipzig, and some of his pieces represent it.[77] The Lutheran chorale was the basis of much of his work. In elaborating these hymns into his chorale preludes, he wrote more cogent and tightly integrated works than most, even when they were massive and lengthy. The large-scale structure of every major Bach sacred vocal work is evidence of subtle, elaborate planning to create a religiously and musically powerful expression. For example, the St Matthew Passion, like other works of its kind, illustrated the Passion with Bible text reflected in recitatives, arias, choruses, and chorales; but in crafting this work, Bach created an overall experience that has been found over the centuries since to be both musically thrilling and spiritually profound.[78]

Bach published or carefully compiled in manuscript many collections of pieces that explored the range of artistic and technical possibilities inherent in almost every genre of his time except opera. For example, the The Well-Tempered Clavier comprises two books, each of which presents a prelude and fugue in every major and minor key, displaying a dizzying variety of structural, contrapuntal and fugal techniques.[79]

Four-part harmony

Four-part harmonies predate Bach, but he lived during a time when modal music in Western tradition was largely supplanted in favour of the tonal system. In this system a piece of music progresses from one chord to the next according to certain rules, each chord being characterised by four notes. The principles of four-part harmony cannot only be found in Bach's four-part choral music, but he also prescribes it for instance for the figured bass accompaniment.[80] The new system was at the core of Bach's style, and his compositions are to a large extent considered as laying down the rules for the evolving scheme that would dominate musical expression in the next centuries. Some examples of this characteristic of Bach's style and its influence:

Bach putting his foot down on the tonal system, and contributing to its shaping, did not imply he was less at ease with the older modal system, and the genres associated with it: more than his contemporaries (who had "moved on" to the tonal system without much exception) Bach often returned to the then antiquated modi and genres. His Chromatic Fantasia and Fugue, re-emulating the chromatic fantasia genre, as used by earlier composers such as Dowland and Sweelinck, in D dorian mode (comparable to D minor in the tonal system), is an example of this.


Modulations, changing key in the course of a piece, is another style characteristic where Bach goes beyond what was usual in his time. Baroque instruments vastly limited modulation possibilities: keyboard instruments, prior to a workable system of temperament, limited the keys that could be modulated to, and wind instruments, especially brass instruments such as trumpets and horns, about a century before they were fitted with valves, were tied to the key of their tuning. Bach pushed the limits: he added "strange tones" in his organ playing, confusing the singing, according to an indictment he had to face in Arnstadt,[83] and Louis Marchand, another early experimenter with modulation, seems to have avoided confrontation with Bach because the latter went further than anyone had done before.[84] In the "Suscepit Israel" of his 1723 Magnificat he had the trumpets in E-flat play a melody in the enharmonic scale of C minor.[85]

The major development taking place in Bach's time, and to which he contributed in no small way, was the development of a temperament for keyboard instruments that allowed to use these in all available keys (12 major and 12 minor), and which allowed modulating without retuning. Already his Capriccio on the departure of a beloved brother, a very early work, showed a gusto for modulation incomparable to any contemporary work this composition has been compared to,[86] but the full expansion came with The Well-Tempered Clavier, using all keys, which Bach seems to have been developing from around 1720, with the Klavierbüchlein für Wilhelm Friedemann Bach as one of its earliest witnesses.[87]


The second page of the Klavierbüchlein für Wilhelm Friedemann Bach is an ornament notation and performance guide that Bach wrote for his eldest son, who was nine years old at the time. Bach was generally quite specific on ornamentation in his compositions (where in his time much of the ornamentation was not written out by composers, rather being considered a liberty of the performer),[88] and his ornamentation was often quite elaborate. For instance, the "Aria" of the Goldberg Variations has rich ornamentation in nearly every measure. Bach's dealing with ornamentation can also be seen in a keyboard arrangement he made of Marcello's Oboe Concerto: he added written out ornamentation, which, some centuries later, is played by oboists when performing the concerto.

Although Bach did not write any opera, he was not averse to the genre, nor to its ornamented vocal style. In church music, Italian composers had imitated the operatic vocal style in genres such as the Neapolitan mass. In Protestant surroundings there was more reticence to adopt such style for liturgical music. For instance Kuhnau, Bach's predecessor in Leipzig, had notoriously written against opera and Italianate virtuoso vocal music.[89] Bach was less imbued; one of the comments after a performance of his St Matthew Passion was that it all sounded much like opera.[90]

Giving soloist roles to continuo instruments

In concerted playing in Bach's time the basso continuo, consisting of instruments such as organ, and/or viola da gamba and harpsichord, usually had the role of accompaniment: providing the harmonic and rhythmic foundation of a piece. From the late 1720s Bach had the organ play concertante (i.e. as soloist) with the orchestra in instrumental cantata movements,[91] a decade before Handel published his first organ concertos.[92] Apart from the 5th Brandenburg Concerto and the Triple Concerto, which already had harpsichord soloists in the 1720s, Bach wrote and arranged his harpsichord concertos in the 1730s,[93] and in his sonatas for viola da gamba and harpsichord neither instrument plays a continuo part: they are treated as equal soloists, way beyond the figured bass role. In this sense Bach played a key role in the development of genres such as the keyboard concerto.[94]


Bach wrote virtuoso music for specific instruments, as well as music independent of instrumentation. For instance the Sonatas and partitas for solo violin are considered the pinnacle of what has been written for this instrument, only within reach of accomplished players: the music fits the instrument, pushing it to the full scale of its possibilities, requiring virtuosity of the player, but without bravura. Notwithstanding that the music and the instrument seem inseparable, Bach made transcriptions for other instruments of some pieces of this collection. Similarly for the cello suites, the virtuoso music seems tailored for the instrument, the best of what is on offer for it, yet Bach made an arrangement for lute of one of these suites. Likewise for much of his most virtuoso keyboard music. Bach exploited the capabilities of an instrument to the fullest, while keeping the core of such music independent of the instrument on which it is performed.

In this sense it is no surprise that Bach's music is easily and often performed on instruments it was not necessarily written for, that it is transcribed so often, and that his melodies turn up in unexpected places such as jazz music. Apart from that, Bach left a number of compositions without specified instrumentation: the Canons BWV 1072–1078 fall in that category, as well as the bulk of The Musical Offering and The Art of Fugue.[95]


Another characteristic of Bach's style is his extensive use of counterpoint (as opposed to the homophony used, for instance, in his four-part Chorale settings). Bach's Canons and, most of all, his Fugues are most characteristic of this style: also here Bach did not invent the style, but his contribution to it was so fundamental that he defined it to a large extent. Fugues are as characteristic to Bach's style, as, for instance, the Sonata form is characteristic to the composers of the Classical period.[96]

Not only these strictly contrapuntal compositions, but most of Bach's music is characterised by distinct melodic lines for each of the voices, where the chords formed by the notes sounding at a given point follow the rules of four-part harmony. Forkel, Bach's first biographer, gives this description of this feature of Bach's music, that sets it apart from most other music:[97]

If the language of music is merely the utterance of a melodic line, a simple sequence of musical notes, it can justly be accused of poverty. The addition of a Bass puts it upon a harmonic foundation and clarifies it, but defines rather than gives it added richness. A melody so accompanied—even though all the notes are not those of the true Bass—or treated with simple embellishments in the upper parts, or with simple chords, used to be called “homophony.” But it is a very different thing when two melodies are so interwoven that they converse together like two persons upon a footing of pleasant equality. In the first case the accompaniment is subordinate, and serves merely to support the first or principal part. In the second case the two parts are not similarly related. New melodic combinations spring from their interweaving, out of which new forms of musical expression emerge. If more parts are interwoven in the same free and independent manner, the apparatus of language is correspondingly enlarged, and becomes practically inexhaustible if, in addition, varieties of form and rhythm are introduced. Hence harmony becomes no longer a mere accompaniment of melody, but rather a potent agency for augmenting the richness and expressiveness of musical conversation. To serve that end a simple accompaniment will not suffice. True harmony is the interweaving of several melodies, which emerge now in the upper, now in the middle, and now in the lower parts.

From about the year 1720, when he was thirty-five, until his death in 1750, Bach's harmony consists in this melodic interweaving of independent melodies, so perfect in their union that each part seems to constitute the true melody. Herein Bach excels all the composers in the world. At least, I have found no one to equal him in music known to me. Even in his four-part writing we can, not infrequently, leave out the upper and lower parts and still find the middle parts melodious and agreeable.

Structure, lyrics

Bach devoted more attention than his contemporaries to the structure of compositions. This can be seen in minor adjustments he made when adopting someone else's composition, for example his earliest version of the "Keiser" St Mark Passion, where he enhances scene transitions,[98] and in the architecture of his own compositions such as his Magnificat,[85] and his Leipzig Passions. In the last years of his life Bach would revise several of his prior compositions, often the recasting of such previously composed music in an enhanced structure being the most visible change, for example the Mass in B minor. Bach's known preoccupation with structure led, peaking around the 1970s, to various numerological analyses of his compositions, although many such over-interpretations were later rejected, especially when wandering off in symbolism-ridden hermeneutics.[99][100]

The librettos, that is the lyrics, for his vocal compositions played an important role for Bach: he sought collaboration with various text authors for his cantatas and major vocal compositions, eventually writing or adapting such texts himself to make them fit in the structure of the composition he was designing, when he could not lean on the talents of other text authors. His collaboration with Picander for the St Matthew Passion libretto is best known, but there was a similar process to come to a multi-layered structure for his St John Passion libretto a few years earlier.[101]


Bach's autograph of the recitative with the gospel text of Christ's death from St Matthew Passion. (Matthew 27:45–47a)
Christmas Oratorio: printed edition of the libretto
Cantata Wachet auf, ruft uns die Stimme, BWV 140 performed by the MIT Concert Choir conducted by W. Cutter
1. Chorus "Wachet auf, ruft uns die Stimme"
1. Chorus "Wachet auf, ruft uns die Stimme"

2. Recitative "Er kommt, er kommt, der Bräut’gam kommt"
2. Recitative "Er kommt, er kommt, der Bräut’gam kommt"

3. Duet "Wenn kömmst du, mein Heil?"
3. Duet "Wenn kömmst du, mein Heil?"

4. Chorale "Zion hört die Wächter singen"
4. Chorale "Zion hört die Wächter singen"

5. Recitative "So geh herein zu mir"
5. Recitative "So geh herein zu mir"

6. Duet "Mein Freund ist mein!"
6. Duet "Mein Freund ist mein!"

7. Chorale "Gloria sei dir gesungen"
7. Chorale "Gloria sei dir gesungen"

Agnus Dei
Agnus Dei
performed by Solomija Drozd (voice), Petro Titiajev (violin) and Ivan Ostapovych (organ)

Prelude and Fugue in A minor, BWV 543 performed by Noah Horn on the 1974 Dirk A. Flentrop organ at the Oberlin Conservatory of Music


Title page of The Well-Tempered Clavier, book 1 –  Prelude No. 1 in C major BWV 846 performed on harpsichord by Robert Schröter
Italian Concerto BWV 971 performed by Martha Goldstein
1st movement

2nd movement

3rd movement

Title page of the Goldberg Variations – performed by Mehmet Okonsar, piano:  Aria and Variation 1–9 Variation 10–22 Variation 23–30 and Aria da capo
Title page of Anna Magdalena Bach's copy of the cello suites – Cello Suite No. 1 BWV 1007 performed by John Michel:  1. Prelude 2. Allemande 3. Courante 4. Sarabande 5. Minuets 6. Gigue
1. Allegro

2. Andante

3. Presto

Some of Bach's most popular melodies are, more often than not, heard in various arrangements:
Air on the G String (excerpt)
"Air", 2nd movement from Orchestral Suite No. 3 in D major, BWV 1068, performed in a Air on the G String adaptation by Capella Istropolitana conducted by Oliver von Dohnányi (courtesy of Naxos)

"Sheep May Safely Graze" (instrumental version)
The Aria "Schafe können sicher weiden" (Sheep May Safely Graze), No. 9 from the Hunting Cantata, BWV 208: composed for soprano, recorders and continuo the music of this movement exists in a variety of instrumental arrangements.

In 1950 Wolfgang Schmieder published a thematic catalogue of Bach's compositions, called Bach-Werke-Verzeichnis (Bach Works Catalogue).[102] Schmieder largely followed the Bach-Gesellschaft-Ausgabe, a comprehensive edition of the composer's works that was produced between 1850 and 1900. The first edition of the catalogue listed 1080 surviving compositions without doubt composed by Bach.[103]

BWV Range Compositions
BWV 1–224 Cantatas
BWV 225–231 Motets
BWV 232–243 Liturgical compositions in Latin
BWV 244–249 Passions and Oratorios
BWV 250–438 Four-part chorales
BWV 439–524 Small vocal works
BWV 525–771 Organ compositions
BWV 772–994 Other keyboard works
BWV 995–1000 Lute compositions
BWV 1001–1040 Other chamber music
BWV 1041–1071 Orchestral music
BWV 1072–1078 Canons
BWV 1079–1080 Late contrapuntal works

BWV 1081–1126 were added to the catalogue in the second half of the 20th century and BWV 1127 and higher were still later additions.[104][105][106]

Passions and oratorios

Bach composed Passions for Good Friday services and oratorios such as the Christmas Oratorio, which is a set of six cantatas for use in the liturgical season of Christmas.[107][108][109] Shorter oratorios are the Easter Oratorio and the Ascension Oratorio.

St Matthew Passion

With its double choir and orchestra the St Matthew Passion is one of Bach's most extended works.

St John Passion

See also: St John Passion

The St John Passion was the first Passion Bach composed during his tenure as Thomaskantor in Leipzig.


According to his obituary Bach would have composed five year cycles of sacred cantatas, and additional church cantatas for instance for weddings and funerals.[71] Of these sacred works around 200 are extant, which is estimated as around two thirds of the total number of church cantatas he composed.[3][110] The Bach Digital website lists 50 known secular cantatas by the composer,[111] about half of which are extant or largely reconstructable.[112]

Church cantatas

Bach's cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses, small instrumental groups, and grand orchestras. Many consist of a large opening chorus followed by one or more recitative-aria pairs for soloists (or duets) and a concluding chorale. The melody of the concluding chorale often appears as a cantus firmus in the opening movement.

Bach's earliest cantatas date from his years in Arnstadt and Mühlhausen. The earliest one with a known date is Christ lag in Todes Banden, BWV 4, for Easter 1707, which is one of his chorale cantatas.[113] Gottes Zeit ist die allerbeste Zeit, BWV 106, a.k.a. Actus Tragicus, is a funeral cantata from the Mühlhausen period.[114] Around 20 church cantatas are extant from his later years in Weimar, for instance Ich hatte viel Bekümmernis, BWV 21.[115]

After taking up his office as Thomaskantor late May 1723, Bach performed a cantata each Sunday and feast day that corresponded to the lectionary readings of the week.[15] His first cantata cycle ran from the first Sunday after Trinity of 1723 to Trinity Sunday the next year. For instance the Visitation cantata Herz und Mund und Tat und Leben, BWV 147, containing the chorale that is known in English as "Jesu, Joy of Man's Desiring", belongs to this first cycle. The cantata cycle of his second year in Leipzig is called the chorale cantata cycle as it is mainly consisting of works in the chorale cantata format. His third cantata cycle was developed over a period of several years, followed by the Picander cycle of 1728–29.

Later church cantatas include the chorale cantatas Ein feste Burg ist unser Gott, BWV 80 (final version)[116] and Wachet auf, ruft uns die Stimme, BWV 140.[117] Only the first three Leipzig cycles are more or less completely extant. Apart from his own work, Bach also performed cantatas by Telemann and by his distant relative Johann Ludwig Bach.[15]

Secular cantatas

Bach also wrote secular cantatas, for instance for members of the Royal-Polish and Prince-electoral Saxonian family (e.g. Trauer-Ode),[118] or other public or private occasions (e.g. Hunting Cantata).[119] The text of these cantatas was occasionally in dialect (e.g. Peasant Cantata)[120] or in Italian (e.g. Amore traditore).[121] Many of the secular cantatas went lost, but for some of these the text and the occasion are known, for instance when Picander later published their libretto (e.g. BWV Anh. 1112).[122] Some of the secular cantatas had a plot carried by mythological figures of Greek antiquity (e.g. Der Streit zwischen Phoebus und Pan),[123] others were almost miniature buffo operas (e.g. Coffee Cantata).[124]

A cappella music

Bach's a cappella music includes motets and chorale harmonisations.


Main article: Motets (Bach)

Bach's motets (BWV 225–231) are pieces on sacred themes for choir and continuo, with instruments playing colla parte. Several of them were composed for funerals.[125] The six motets certainly composed by Bach are Singet dem Herrn ein neues Lied, Der Geist hilft unser Schwachheit auf, Jesu, meine Freude, Fürchte dich nicht, Komm, Jesu, komm, and Lobet den Herrn, alle Heiden. The motet Sei Lob und Preis mit Ehren (BWV 231) is part of the composite motet Jauchzet dem Herrn, alle Welt (BWV Anh. 160), other parts of which may be based on work by Telemann.[126]

Chorale harmonisations

Bach wrote hundreds of four-part harmonisations of Lutheran chorals.

Church music in Latin

Bach church music in Latin includes his Magnificat, four Kyrie–Gloria Masses, and his Mass in B minor.


The first version of Bach's Magnificat dates from 1723, but the work is best known in its D major version of 1733.

Mass in B minor

See also: Mass in B minor

In 1733 Bach composed a Kyrie–Gloria Mass for the Dresden court. Near the end of his life, around 1748–49 he expanded this composition into the large scale Mass in B minor. The work was never performed in full during Bach's lifetime.[127][128]

Keyboard music

Bach wrote for the organ and other keyboard instruments of his day, mainly the harpsichord, but also the clavichord and his personal favourite: the lute-harpsichord (the compositions listed as works for the lute, BWV 995-1000 and 1006a were probably written for this instrument).

Organ works

Bach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres—such as preludes, fantasias, and toccatas—and stricter forms, such as chorale preludes and fugues.[15] At a young age, he established a reputation for his great creativity and ability to integrate foreign styles into his organ works. A decidedly North German influence was exerted by Georg Böhm, with whom Bach came into contact in Lüneburg, and Dieterich Buxtehude, whom the young organist visited in Lübeck in 1704 on an extended leave of absence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italian composers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldi and others for organ and harpsichord. During his most productive period (1708–14) he composed about a dozen pairs of preludes and fugues, five toccatas and fugues, and the Little Organ Book, an unfinished collection of forty-six short chorale preludes that demonstrates compositional techniques in the setting of chorale tunes. After leaving Weimar, Bach wrote less for organ, although some of his best-known works (the six trio sonatas, the German Organ Mass in Clavier-Übung III from 1739, and the Great Eighteen chorales, revised late in his life) were composed after his leaving Weimar. Bach was extensively engaged later in his life in consulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.[129][130] The Canonic Variations on "Vom Himmel hoch da komm' ich her" and the Schübler Chorales are organ works Bach published in the last years of his life.

Harpsichord and clavichord

Bach wrote many works for harpsichord, some of which may have been played on the clavichord. The larger works are usually intended for a harpsichord with two manuals, while performing them on a keyboard instrument with a single manual (like a piano) may provide technical difficulties for the crossing of hands. Many of his keyboard works are anthologies that encompass whole theoretical systems in an encyclopaedic fashion.

Among Bach's lesser known keyboard works are seven toccatas (BWV 910–916), four duets (BWV 802–805), sonatas for keyboard (BWV 963–967), the Six Little Preludes (BWV 933–938), and the Aria variata alla maniera italiana (BWV 989).

Orchestral and chamber music

Bach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six sonatas and partitas for violin (BWV 1001–1006) and his six cello suites (BWV 1007–1012), are widely considered among the most profound in the repertoire.[138] He wrote sonatas for a solo instrument such as the viola de gamba accompanied by harpsichord or continuo, as well as trio sonatas (two instruments and continuo).

The Musical Offering and The Art of Fugue are late contrapuntal works containing pieces for unspecified (combinations of) instruments.

Violin concertos

Surviving works in the concerto form include two violin concertos (BWV 1041 in A minor and BWV 1042 in E major) and a concerto for two violins in D minor, BWV 1043, often referred to as Bach's "double" concerto.

Brandenburg Concertos

For more details on this topic, see Brandenburg Concertos.

Bach's best-known orchestral works are the Brandenburg Concertos, so named because he submitted them in the hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; his application was unsuccessful.[15] These works are examples of the concerto grosso genre.

Keyboard concertos

For more details on this topic, see Keyboard concertos by Johann Sebastian Bach.

Bach composed and transcribed concertos for one to four harpsichords. Many of the harpsichord concertos were not original works, but arrangements of his concertos for other instruments now lost.[139] A number of violin, oboe, and flute concertos have been reconstructed from these.

Orchestral suites

In addition to concertos, Bach wrote four orchestral suites, each suite being a series of stylised dances for orchestra, preceded by a French overture.[140]

Copies, arrangements and works with an uncertain attribution

See also: BWV Anh.

In his early youth Bach copied pieces by other composers to learn from them.[141] Later he copied and arranged music for performance and/or as study material for his pupils. Some of these pieces, like "Bist du bei mir" (not even copied by Bach but by Anna Magdalena), became famous before being dissociated with Bach. Bach copied and arranged Italian masters such as Vivaldi (e.g. BWV 1065), Pergolesi (BWV 1083) and Palestrina (Missa Sine nomine), French masters such as François Couperin (BWV Anh. 183), and closer to home various German masters, including Telemann (e.g. BWV 824=TWV 32:14) and Handel (arias from Brockes Passion), and music from members of his own family. Then he also often copied and arranged his own music (e.g. BWV 233–236), as likewise his music was copied and arranged by others. Some of these arrangements, like the late 19th-century "Air on the G string" helped in popularising Bach's music.

Sometimes it wasn't clear who copied who. For instance, Forkel mentions a Mass for double chorus among the works composed by Bach. The work was published and performed in the early 19th century, and although a score partially in Bach's handwriting exists, the work was later considered spurious.[142] In 1950 the setup of the Bach-Werke-Verzeichnis was to keep such works out of the main catalogue: if there was a strong association with Bach they could be listed in its appendix (in German: Anhang, abbreviated as Anh.), so, for instance, the aforementioned Mass for double chorus became BWV Anh. 167. This was however far from the end of attribution issues, for instance Schlage doch, gewünschte Stunde, BWV 53 was later re-attributed to Melchior Hoffmann. For other works, Bach's authorship was put in doubt without a generally accepted answer to the question whether or not he composed it: the best known organ composition in the BWV catalogue, the Toccata and Fugue in D minor, BWV 565 was indicated as one of these uncertain works in the late 20th century.[143]


First page of Bach's Nekrolog by Carl Philipp Emanuel Bach and Johann Friedrich Agricola, as published in Mizler's Musikalische Bibliothek, Volume IV Part 1 (1754). Despite the errors contained in it, this obituary of less than 20 pages is arguably "the richest and most trustworthy" source on Bach produced before the 19th century.[144]

Throughout the 18th century the appreciation of Bach's music was mostly limited to distinguished connoisseurs. The 19th century started with the first biography of the composer being published and ended with the completion of the publication of all of Bach's known works by the Bach Gesellschaft. A Bach Revival had started from Mendelssohn's performance of the St. Matthew Passion in 1829. Soon after the 1829 performance Bach started to become regarded as one of the greatest composers of all times, if not the greatest, a reputation he kept ever since. A new extensive Bach biography was published in the second half of the 19th century.

In the 20th century Bach's music was widely performed and recorded, while, among others, the Neue Bachgesellschaft published its research on the composer. Modern adaptations of Bach's music contributed greatly to Bach's popularisation in the second half of the 20th century. Among these were the Swingle Singers' versions of Bach pieces (for instance, the "Air" from Orchestral Suite No. 3, or the Wachet Auf... chorale prelude) and Wendy Carlos' 1968 Switched-On Bach, which used the Moog electronic synthesiser.

By the end of the 20th century more classical performers were gradually moving away from the performance style and instrumentation that were established in the romantic era: they started to perform Bach's music on period instruments of the baroque era, studied and practised playing techniques and tempi as established in Bach's time, and reduced the size of instrumental ensembles and choirs to what Bach would have used. The BACH motif, used by the composer in his own compositions, was used in dozens of tributes to the composer from the 19th century to the 21st. In the 21st century the complete extant output of the composer became available on-line with several websites exclusively dedicated to him.

18th century

Image of the Bach memorial Felix Mendelssohn had erected in Leipzig in 1843
1908 Statue of Bach in front of the Thomaskirche in Leipzig

In his own time Bach's reputation equalled those of Telemann, Graun and Handel.[145] During his life Bach received public recognition such as the title of court composer by Augustus III of Poland, and the appreciation he was shown by Frederick the Great and Herman Karl von Keyserling. Such high placed appreciation contrasted with the humiliations he had to cope with for instance in his hometown Leipzig.[146] Also in the contemporary press Bach had his detractors such as Johann Adolf Scheibe, suggesting he write less complex music, and his supporters such as Johann Mattheson and Lorenz Christoph Mizler.[147][148][149]

After his death, Bach's reputation as a composer at first declined: his work was regarded as old-fashioned compared to the emerging galant style.[150] Initially he was remembered more as a virtuoso player of the organ and as a teacher. The bulk of the music that had been printed during the composer's lifetime, at least the part that was remembered, was music for organ and harpsichord. Thus his reputation as a composer was initially mostly limited to his keyboard music, and that even fairly limited to its value in music education.

Bach's surviving family members, who inherited a large part of his manuscripts, were not all equally concerned with preserving them, leading to considerable losses.[151] Carl Philipp Emanuel, his second eldest son, was most active in safeguarding his father's legacy: he co-authored his father's obituary, contributed to the publication of his four-part chorales,[152] staged some of his works, and the bulk of previously unpublished works of his father were preserved through his hands.[153] Wilhelm Friedemann, the eldest son, performed several of his father's cantatas in Halle, but after becoming unemployed sold part of the large collection of his father's works he owned.[154][155][156] Several students of the old master, such as his son-in-law Johann Christoph Altnickol, Johann Friedrich Agricola, Johann Kirnberger and Johann Ludwig Krebs, contributed to the dissemination of his legacy. The early devotees weren't all musicians, for example in Berlin, Daniel Itzig, a high official of Frederick the Great's court, venerated Bach.[157] His eldest daughters took lessons from Kirnberger; their sister Sara from Wilhelm Friedemann Bach who was in Berlin from 1774 to 1784.[157][158] Sara Itzig Levy became an avid collector of works by Johann Sebastian Bach and his sons and was a "patron" of CPE Bach.[158]

While in Leipzig performances of Bach's church music were limited to some of his motets and, under cantor Doles, some of his Passions,[159] a new generation of Bach aficionados emerged: they studiously collected and copied his music, including some of his large-scale works such as the Mass in B minor, and performed it privately. One such connoisseur was Gottfried van Swieten, a high-ranked Austrian official who was instrumental in passing Bach's legacy to the composers of the Viennese school. Haydn owned manuscript copies of the Well-Tempered Clavier and the Mass in B minor, and was influenced by Bach's music. Mozart owned a copy of one of Bach's motets,[160] transcribed some of his instrumental works (K. 404a, 405),[161][162] and wrote contrapuntal music influenced by his style.[163][164] Beethoven played the entire Well-Tempered Clavier by the time he was eleven, and described Bach as "Urvater der Harmonie" (progenitor of harmony).[165][166][167][168][169]

19th century

The church in Arnstadt where Bach had been the organist from 1703 to 1707. In 1935 the church was renamed to "Bachkirche"
28 July 1950: memorial service for Bach in Leipzig's Thomaskirche, on the 200th anniversary of the composer's death

In 1802 Johann Nikolaus Forkel published Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke, the first biography of the composer, which contributed to the composer becoming known to a wider public.[170] In 1805 Abraham Mendelssohn, who had married one of Itzig's granddaughters, bought a substantial collection of Bach manuscripts that had come down from C. P. E. Bach, and donated these to the Berlin Sing-Akademie.[157] The Sing-Akademie occasionally performed Bach's works in public concerts, for instance his first keyboard concerto, with Sara Itzig Levy at the piano.[157]

The first decades of the 19th century saw an increasing number of first publications of Bach's music: Breitkopf started publishing chorale preludes,[171] Hoffmeister harpsichord music,[172] and the Well-Tempered Clavier was printed concurrently by Simrock (Germany), Nägeli (Switzerland) and Hoffmeister (Germany and Austria) in 1801.[173] Also vocal music: Motets in 1802 and 1803, followed by the E major version of the Magnificat, the Kyrie-Gloria Mass in A major, and the cantata Ein feste Burg ist unser Gott (BWV 80).[174] In 1818 Hans Georg Nägeli called the Mass in B Minor the greatest composition ever.[165] Bach's influence was felt in the next generation of early Romantic composers.[166] When Felix Mendelssohn, Abraham's son, aged 13, produced his first Magnificat setting in 1822 it was clear that he was inspired by the then unpublished D major version of Bach's Magnificat.[175]

Felix Mendelssohn significantly contributed to the renewed interest in Bach's work with his 1829 Berlin performance of the St Matthew Passion, instrumental in setting off what has been called the Bach Revival. The St John Passion saw its 19th-century premiere in 1833, and the first performance of the Mass in B minor followed in 1844. Besides these and other public performances and an increased coverage on the composer and his compositions in printed media, the 1830s and 40s also saw the first publication of more vocal works by Bach: six cantatas, the St Matthew Passion and the Mass in B minor. A series of organ compositions saw their first publication in 1833.[176] Chopin started composing his 24 Preludes, Op. 28, inspired by the Well-Tempered Clavier, in 1835, and Schumann published his Sechs Fugen über den Namen B-A-C-H in 1845. Bach's music was transcribed and arranged to suit contemporary taste and performance practice by composers such as Carl Friedrich Zelter, Robert Franz, and Franz Liszt, or combined with new music such as the melody line of Charles Gounod's Ave Maria.[165][177] Brahms, Bruckner, and Wagner were among the composers that promoted Bach's music or wrote glowingly about it.

In 1850, the Bach-Gesellschaft (Bach Society) was founded to promote Bach's music. In the second half of the 19th century the Society published a comprehensive edition of the composer's works. Also in the second half of the 19th century, Philipp Spitta published Johann Sebastian Bach, the standard work on Bach's life and music.[178] By that time Bach was known as the first of the three Bs in music. Throughout the 19th century 200 books were published on Bach. By the end of the century local Bach societies were initiated in several cities, and Bach's music had been performed in all major musical centres.[165]

In Germany all throughout the century Bach had been coupled to nationalist feelings, and the composer was inscribed in a religious revival. In England, Bach was coupled to an already existing revival of religious and baroque music. By the end of the century, Bach was firmly established as one of the greatest composers, recognised for both his instrumental and his vocal music.[165]

20th century

Bosehaus in Leipzig where the Bach Archive has been housed since 1985

During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, perhaps most notably in the promotion of the cello suites by Pablo Casals, the first major performer to record these suites.[179] Leading performers of classical music, such as Herbert von Karajan, Arthur Grumiaux, Helmut Walcha, Wanda Landowska, Karl Richter, I Musici, Dietrich Fischer-Dieskau, Glenn Gould, and many others recorded music of Bach.

A significant development in the later part of the 20th century was the momentum gained by the historically informed performance practice, with forerunners such as Nikolaus Harnoncourt acquiring prominence by their performances of Bach's music. Bach's keyboard music was again rather performed on the instruments Bach knew instead of on modern pianos and 19th century romantic organs. Ensembles playing and singing Bach's music not only kept to the instruments and the performance style of Bach's day, they were also reduced to the size of the groups Bach used for his performances.[180] But that was far from the only way Bach's music came to the forefront in the 20th century: his music was heard in versions ranging from Ferruccio Busoni's late romantic piano transcriptions, jazzy interpretations such as those by the Swingle Singers, and orchestrations such as the one opening Walt Disney's Fantasia movie, to synthesiser performances such as Wendy Carlos' Switched-On Bach recordings.

Bach's music has been taken up in other genres. For instance, jazz musicians have adopted Bach's music, with Jacques Loussier, Ian Anderson, Uri Caine, and the Modern Jazz Quartet among those creating jazz versions of Bach works.[181] Several 20th century composers referred to Bach or his music, for instance Eugène Ysaÿe in his Six Sonatas for solo violin, Dmitri Shostakovich in his 24 Preludes and Fugues and Heitor Villa-Lobos in his Bachianas Brasileiras. All kinds of publications involved Bach: not only were there the Bach Jahrbuch publications of the Neue Bachgesellschaft, various other studies and biographies, by among others Albert Schweitzer, Charles Sanford Terry, John Butt, Christoph Wolff, and the 1950 first edition of the Bach Werke Verzeichnis, but also books such as Gödel, Escher, Bach put the composer's art in a wider perspective. Bach's music was extensively listened to, performed, broadcast, arranged, adapted, and commented upon in the 1990s.[182] Around 2000, the 250th anniversary of Bach's death, three record companies issued box sets with complete recordings of Bach's music.[183][184][185]

Bach's music features three times—more than that of any other composer—on the Voyager Golden Record, a gramophone record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[186] Tributes to Bach in the 20th century include statues erected in his honour, and a variety of things, such as streets and space objects, being named after him.[187][188] Also a multitude of musical ensembles such as the Bach Aria Group, the Deutsche Bachsolisten, the Bachchor Stuttgart, and the Bach Collegium Japan adopted the composer's name. Bach festivals were held in several continents, and competitions and prizes such as the International Johann Sebastian Bach Competition and the Royal Academy of Music Bach Prize were named after the composer. Where by the end of the 19th century Bach had been inscribed in nationalism and religious revival, the late 20th century saw Bach as the subject of a secularised Art-as-religion (Kunstreligion).[165][182]

21st century

Mark Rutte, prime minister of the Netherlands, along with the rest of the public awaiting the start of a 2011 performance of the St. Matthew Passion

In the 21st century Bach's compositions became available on-line, for instance at the International Music Score Library Project.[189] High resolution facsimiles of Bach's autographs became available at the Bach digital website.[190] Websites dedicated exclusively to the composer or parts of his music include,[191] and the Bach Cantatas Website.[192]

21st-century biographers include Peter Williams and the conductor John Eliot Gardiner.[193][194][195] Also in this century, overviews of what is best in classical music typically include a lot of Bach. For example, in The Telegraph's list of the 168 best classical music recordings, Bach's music is featured in more recordings than that of any other composer.[196]

Recognition in Protestant churches

The liturgical calendar of the Episcopal Church remembers Bach annually with a feast day on 28 July, together with George Frideric Handel and Henry Purcell; the Calendar of Saints of the Lutheran Church, on the same day remembers Bach and Handel with Heinrich Schütz.


  1. German pronunciation: [ˈjoːhan zeˈbasti̯an ˈbax]. The last name appears as /bɑːx/ in OED/OUP.[1] According to Webster's, the last consonant can alternatively be pronounced as /k/.[2]


  1. "Bach, Johann Sebastian" entry at Retrieved 3 May 2016.
  2. "bach trumpet" entry p. 157 in Webster's Third New International Dictionary (unabridged). Merriam-Webster, 1981. ISBN 0877792062
  3. 1 2 3 Wolff (1997), p. 5
  4. Blanning, T. C. W. (2008). The Triumph of Music: The Rise of Composers, Musicians and Their Art. p. 272. And of course the greatest master of harmony and counterpoint of all time was Johann Sebastian Bach, 'the Homer of music'.
  5. 1 2 Wolff (2000), pp. 19, 46
  6. 1 2 "Bach Mass in B Minor BWV 232". The Baroque Music Site. Retrieved 21 February 2012.
  7. 1 2 Miles (1962), pp. 86–87
  8. Jones (2007), p. 3
  9. "Lesson Plans". Bach to School. The Bach Choir of Bethlehem. Archived from the original on 16 January 2013. Retrieved 23 December 2014.
  10. Boyd (2000), p. 6
  11. Johann Sebastian Bach drafted a genealogy around 1735, titled "Origin of the musical Bach family", printed in translation in David, Mendel, and Wolff (1998), p. 283
  12. Boyd (2000), pp. 7–8
  13. David, Mendel & Wolff (1998), p. 299
  14. Wolff (2000), p. 45
  15. 1 2 3 4 5 6 7 8 9 10 11 12 "Johann Sebastian Bach: a detailed informative biography". The Baroque Music Site. Retrieved 19 February 2012.
  16. Wolff (2000), pp. 41–43
  17. 1 2 Eidam 2001, Ch. I
  18. 1 2 3 4 5 Stauffer, George B. (20 February 2014). "Why Bach Moves Us". The New York Review of Books. Retrieved 10 April 2014.
  19. Geiringer (1966), p. 13
  20. Towe, Teri Noel. "The Portrait in Erfurt Alleged to Depict Bach, the Weimar Concertmeister". The Face Of Bach. Archived from the original on 16 July 2011. Retrieved 23 December 2014.
  21. Rich (1995), p. 27
  22. Boyd (2000), pp. 15–16
  23. Chiapusso (1968), p. 62
  24. Snyder, Kerala J. (2007). Dieterich Buxtehude: Organist in Lübeck (2nd ed.). pp. 104–106.
  25. 1 2 Wolff (2000), p. 102–104)
  26. Williams (2003), p. 38–39
  27. Bach Digital Work 0005 at
  28. "History of the Bach House". Bach House Weimar. Retrieved 10 August 2015.
  29. Forkel/Terry 1920, Table VII, p. 309
  30. Thornburgh, Elaine. "Baroque Music – Part One". Music in Our World. San Diego State University. Retrieved 24 December 2014.
  31. Chiapusso (1968), p. 168
  32. Schweitzer (1935), p. 331
  33. Koster, Jan. "Weimar (II) 1708–1717". J.S. Bach Archive and Bibliography. Retrieved 11 April 2014.
  34. Sadie, Julie Anne, ed. (1998). Companion to Baroque Music. p. 205.
  35. Wolff (2000), pp. 147, 156
  36. 1 2 Wolff (1991), p. 30
  37. Gardiner, John Eliot (2010). "Cantatas for Christmas Day: Herderkirche, Weimar" (PDF). pp. 1–2. Retrieved 27 December 2014.
  38. Wolff, Christoph (1996). "From konzertmeister to thomaskantor: Bach's cantata production 1713–1723" (PDF). pp. 15–16. Retrieved 27 December 2014.
  39. David, Mendel & Wolff (1998), p. 80
  40. Miles (1962), p. 57
  41. Boyd (2000), p. 74
  42. Van Til (2007), pp. 69, 372
  43. Spaeth (1937), p. 37
  44. Spitta (1899a), p. 11
  45. Geiringer (1966), p. 50
  46. Wolff (1983), pp. 98, 111
  47. Spitta (1899a), pp. 192–193
  48. 1 2 Wolff 2013, p. 253
  49. Wolff 2013, p. 345
  50. British Library. On-line gallery.Bach biography..
  51. Wolff 2013, p. 348
  52. Wolff 2013, p. 349
  53. "Motets BWV 225–231". Bach Cantatas Website. Retrieved 31 December 2014.
  54. "Works of Other Composers performed by J.S. Bach". Bach Cantatas Website. Retrieved 31 December 2014.
  55. Boyd (2000), pp. 112–113
  56. Spitta (1899a), pp. 288–290
  57. Spitta (1899a), pp. 281, 287
  58. Wolff (2000), p. 341
  59. Bach, Carl Philipp Emanuel & Agricola, Johann Friedrich (1754). "Nekrolog". Musikalische Bibliothek (in German). Leipzig: Mizlerischer Bücherverlag. IV.1: 173.
  60. Musikalische Bibliothek, III.2 [1746], 353, Felbick 2012, 284. In 1746, Mizler announced the membership of three famous members, Musikalische Bibliothek, III.2 [1746], 357.
  61. Musikalische Bibliothek, IV.1 [1754], 108 and Tab. IV, fig. 16 (Source online); letter of Mizler to Spieß, 29 June 1748, in: Hans Rudolf Jung und Hans-Eberhard Dentler: Briefe von Lorenz Mizler und Zeitgenossen an Meinrad Spieß, in: Studi musicali 2003, Nr. 32, 115.
  62. Hans Gunter Hoke: "Neue Studien zur Kunst der Fuge BWV 1080", in: Beiträge zur Musikwissenschaft 17 (1975), 95–115; Hans-Eberhard Dentler: "Johann Sebastian Bachs Kunst der Fuge – Ein pythagoreisches Werk und seine Verwirklichung", Mainz 2004; Hans-Eberhard Dentler: "Johann Sebastian Bachs Musicalisches Opfer – Musik als Abbild der Sphärenharmonie", Mainz 2008.
  63. Chiapusso (1968), p. 277
  64. "Did Bach really leave Art of Fugue unfinished?". The Art of Fugue. American Public Media. Retrieved 28 March 2014.
  65. Rathey, Markus (18 April 2003). Johann Sebastian Bach's Mass in B Minor: The Greatest Artwork of All Times and All People (PDF). The Tangeman Lecture. New Haven.
  66. Wolff (2000), p. 442, from David, Mendel & Wolff (1998)
  67. Zegers, Richard H.C. (2005). "The Eyes of Johann Sebastian Bach". Archives of Ophthalmology. 123 (10): 1427–1430. doi:10.1001/archopht.123.10.1427.
  68. Hanford, Jan. "J.S. Bach: Timeline of His Life". J.S. Bach Home Page. Retrieved 8 March 2012.
  69. David, Mendel & Wolff (1998), p. 188
  70. Spitta (1899b), p. 274
  71. 1 2 Bach, Carl Philipp Emanuel & Agricola, Johann Friedrich (1754). "Nekrolog". Musikalische Bibliothek (in German). Leipzig: Mizlerischer Bücherverlag. IV.1: 158–173. Printed in translation in David, Mendel & Wolff (1998), p. 299.
  72. David, Mendel & Wolff (1998), pp. 191–197
  73. Zegers, Richard H.C.; Maas, Mario; Koopman, A.G. & Maat, George J.R. (2009). "Are the alleged remains of Johann Sebastian Bach authentic?" (PDF). The Medical Journal of Australia. 190 (4): 213–216.
  74. Wolff (2000), p. 166
  75. Herl (2004), p. 123
  76. Fuller Maitland, J.A., ed. (1911). "Johann Sebastian Bach". Grove's Dictionary of Music and Musicians. 1. New York: Macmillan Publishers. p. 154.
  77. Leaver (2007), pp. 280, 289–291
  78. Huizenga, Tom. "A Visitor's Guide to the St. Matthew Passion". NPR Music. National Public Radio. Retrieved 25 February 2012.
  79. Traupman-Carr, Carol. "The Well Tempered Clavier BWV 846–869". Bach 101. Bach Choir of Bethlehem. Archived from the original on 2 July 2013. Retrieved 23 December 2014.
  80. Spitta III (1899b), Appendix XII p. 315
  81. Clemens Romijn. Liner notes for Tilge, Höchster, meine Sünden BWV 1083 (after Pergolesi's Stabat Mater). Brilliant Classics, 2000. (2014 reissue: J.S. BACH COMPLETE EDITION. "Liner notes" p. 54)
  82. Jopi Harri. St. Petersburg Court Chant and the Tradition of Eastern Slavic Church Singing. Finland: University of Turku (2011), p. 24
  83. Eidam 2001, Ch. IV
  84. Eidam 2001, Ch. IX
  85. 1 2 Marshall, Robert L. (1989). Don O., Franklin, ed. On the Origin of Bach's Magnificat: a Lutheran composer's challenge. Bach Studies. Cambridge. pp. 3–17. ISBN 978-0-521-34105-9.
  86. Eidam 2001, Ch. III
  87. Klavierbüchlein für W. F. Bach at
  88. Donington (1982), p. 91
  89. Kuhnau, Johann (1700), Der musicalische Quack-Salber, Dresden
  90. Eidam 2001, Ch. XVIII
  91. André Isoir (organ) and Le Parlement de Musique conducted by Martin Gester. Johann Sebastian Bach: L'oeuvre pour orgue et orchestre. Calliope 1993. Liner notes by Gilles Cantagrel.
  92. George Frideric Handel. 6 Organ Concertos, Op. 4 at IMSLP website
  93. Peter Wollny, "Harpsichord Concertos," booklet notes for Andreas Staier's 2015 recording of the concertos, Harmonia mundi HMC 902181.82
  94. Schulenberg (2006), pp. 1–2
  95. "Did Bach intend Art of Fugue to be performed?". The Art of Fugue. American Public Media. Retrieved 28 March 2014.
  96. Eidam 2001, Ch. XXX
  97. Forkel/Terry 1920 pp.73–74
  98. Bach Digital Work 1677 at
  99. Williams, Peter F. (1980). The Organ Music of J. S. Bach, Volume 1: Preludes, Toccatas, Fantasias, Fugues, Sonatas, Concertos and Miscellaneous Pieces (BWV 525–598, 802–805 etc). Cambridge University Press. ISBN 978-0-521-21723-1, p. 217
  100. Alberto Basso (1979). Frau Musika: La vita e le opere di J. S. Bach, Volume 1 (of 2): Le origini familiari, l'ambiente luterano, gli anni giovanili, Weimar e Köthen (1685–1723). Turin, EDT. ISBN 88-7063-011-0 p. 493
  101. Don O. Franklin. "The Libretto of Bach's John Passion and the Doctrine of Reconciliation: An Historical Perspective", pp. 179–203 in Proceedings of the Royal Netherlands Academy of Arts and Sciences Vol. 143 edited by A. A. Clement, 1995.
  102. "Bach Works Catalogue". Bach Digital. Retrieved 29 September 2015.
  103. Wolfgang Schmieder (editor). Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach. Leipzig: Breitkopf & Härtel, 1950. Unaltered up unto its eighth printing in 1986.
  104. Schmieder, Wolfgang, Alfred Dürr, and Yoshitake Kobayashi (eds.). 1998. Bach-Werke-Verzeichnis: Kleine Ausgabe (BWV2a). Wiesbaden: Breitkopf & Härtel. ISBN 978-3765102493.(German)
  105. Bach Digital Work 1307
  106. Joel H. Kuznik. "BWV 1128: A recently discovered Bach organ work" pp. 22–23 in The Diapason, Vol. 99 No. 22. December 2008. (archived July 21, 2011)
  107. Leaver (2007), p. 430
  108. Williams (2003), p. 114
  109. Traupman-Carr, Carol. "The Christmas Oratorio, BWV 248". Bach 101. Bach Choir of Bethlehem. Retrieved 29 March 2014.
  110. Traupman-Carr, Carol. "Bach, Master of the Cantata". Bach 101. Bach Choir of Bethlehem. Archived from the original on 2 July 2013. Retrieved 24 December 2014.
  111. Bach's secular cantatas in BWV order, each followed by a link to the Bach Digital Work (BDW) page of the cantata at the Bach-Digital website:
    1. BWV 30a (BDW 0039)
    2. BWV 36a (BDW 0049)
    3. BWV 36b (BDW 0050)
    4. BWV 36c (BDW 0051)
    5. BWV 66a (BDW 0083)
    6. BWV 134a (BDW 0166)
    7. BWV 173a (BDW 0211)
    8. BWV 184a (BDW 0223)
    9. BWV 193a (BDW 0235)
    10. BWV 194a (BDW 0239)
    11. BWV 198 (BDW 0246)
    12. BWV 201 (BDW 0251)
    13. BWV 202 (BDW 0252)
    14. BWV 203 (BDW 0253)
    15. BWV 204 (BDW 0254)
    16. BWV 205 (BDW 0255)
    17. BWV 205a (BDW 0256)
    18. BWV 206, first version (BDW 0257)
    19. BWV 206, second version (BDW 0258)
    20. BWV 207 (BDW 0259)
    21. BWV 207a (BDW 0260)
    22. BWV 208, first version (BDW 0261)
    23. BWV 208, second version (BDW 0262)
    24. BWV 208a (BDW 0263)
    25. BWV 209 (BDW 0264)
    26. BWV 210 (BDW 0265)
    27. BWV 210a (BDW 0266)
    28. BWV 211 (BDW 0267)
    29. BWV 212 (BDW 0268)
    30. BWV 213 (BDW 0269)
    31. BWV 214 (BDW 0270)
    32. BWV 215 (BDW 0271)
    33. BWV 216 (BDW 0272)
    34. BWV 216a (BDW 0273)
    35. BWV 249a (BDW 0318)
    36. BWV 249b (BDW 0319)
    37. BWV Anh. 6 (BDW 1314)
    38. BWV Anh. 7 (BDW 1315)
    39. BWV Anh. 8 (BDW 1316)
    40. BWV Anh. 9 (BDW 1317)
    41. BWV Anh. 10 (BDW 1318)
    42. BWV Anh. 11 (BDW 1319)
    43. BWV Anh. 12 (BDW 1320)
    44. BWV Anh. 13 (BDW 1321)
    45. BWV Anh. 18 (BDW 1326)
    46. BWV Anh. 19 (BDW 1327)
    47. BWV Anh. 20 (BDW 1328)
    48. BWV Anh. 195 (BDW 1506)
    49. BWV Anh. 196 (BDW 1507)
    50. BWV deest (BDW 1536)
  112. For instance, Helmut Rilling's box set of the complete secular cantatas contains 22 works
  113. An Easter cantata, "one of Bach's better-known early works", writes David Schulenburg in Boyd, ed., 1999
  114. "perhaps the most admired of Bach's compositions presumed to date from before his appointment in Weimar (1708)", David Schulenburg in Boyd, ed., 1999.
  115. "justifiably considered among Bach's finest contributions", writes Nicholas Anderson in Boyd, Ed., 1999
  116. "Especially in its opening chorus, it is one of Bach's contrapuntal masterpieces": Robin A. Leaver in Boyd, ed., 1999
  117. "one of Bach's best-known church works" wrote David Schulenberg in Boyd, ed., 1999
  118. Bach Digital Work 0246 at
  119. Bach Digital Work 0261, 0262 at
  120. Bach Digital Work 0268 at
  121. Bach Digital Work 0253 at
  122. Bach Digital Work 1319, 1320 at
  123. Bach Digital Work 0251 at
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  125. Traupman-Carr, Carol. "Choral Works". Bach 101. Bach Choir of Bethlehem. Retrieved 31 March 2014.
  126. Melamed, Daniel R. (1995). J. S. Bach and the German Motet. pp. 90–94.
  127. "The Mass in B Minor, BWV 232". Bach 101. Bach Choir of Bethlehem. Retrieved 29 March 2014.
  128. Herz (1985), p. 187
  129. "Bach, Johann Sebastian". GMN ClassicalPlus. Retrieved 19 May 2008.
  130. Smith, Timothy A. "Arnstadt (1703–1707)". The Canons and Fugues of J. S. Bach. Retrieved 11 April 2014.
  131. Schweitzer (1935), p. 333
  132. Kroesbergen, Willem & Cruickshank, Andrew (November 2013). "18th Century Quotes on J.S. Bach's Temperament".
  133. Tomita, Yo. "J. S. Bach: Inventions and Sinfonias". Retrieved 22 February 2012.
  134. McComb, Todd M. "Bach: English Suites". Early Music FAQ. Retrieved 10 December 2014.
  135. Traupman-Carr, Carol. "French Suites 1–6". Bach 101. The Bach Choir of Bethlehem. Archived from the original on 2 July 2013. Retrieved 23 December 2014.
  136. McComb, Todd M. "Bach: Partitas, BWV 825–30". Early Music FAQ. Retrieved 10 December 2014.
  137. Libbey, Ted. "Gold Standard for Bach's 'Goldberg Variations'". NPR Music. National Public Radio. Retrieved 22 February 2012.
  138. Bratman, David. "Shaham: Bold, Brilliant, All-Bach". San Francisco Classical Voice. Retrieved 23 February 2012.
  139. "Baroque Music". Music of the Baroque. Retrieved 27 December 2014.
  140. Traupman-Carr, Carol. "A compendium of works performed by the Bach Choir". Bach 101. Bach Choir of Bethlehem. Archived from the original on 19 July 2013. Retrieved 23 December 2014.
  141. Forkel/Terry 1920 pp. 10-11
  142. Forkel/Terry 1920 pp. 140–141
  143. Zehnder, Jean-Claude (2011) Toccatas and Fugues / Individual Works. Leipzig, Breitkopf & Härtel. Introduction p. 20.
  144. David, Mendel & Wolff (1998), p. 297
  145. Geck & Bell (2003), p. 141
  146. Johann Sebastian Bach. Letter to Augustus III of Poland. 27 July 1733; Quoted in Hans T. David and Arthur Mendel, The Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents. W. W. Norton & Company, 1945, p. 128; Quoted in David, Mendel & Wolff (1998), p. 158. ISBN 978-0-393-04558-1
  147. Johann Adolf Scheibe. pp. 46–47 in Critischer Musicus VI, 14 May 1737. Quoted in Eidam 2001, Chapter XXII.
  148. Johann Mattheson. Das Beschützte Orchestre, oder desselben Zweyte Eröffnung, footnote p. 222 Hamburg: Schiller, 1717.
  149. Lorenz Christoph Mizler. Musikalische Bibliothek. Volume I, Part 4, pp. 61–73. Leipzig, April 1738. Includes a reprint of Johann Abraham Birnbaum's Unpartheyische Anmerckungen über eine bedenckliche stelle in dem Sechsten stück des Critischen Musicus. published early January of the same year.
  150. Bach was regarded as "passé even in his own lifetime". (Morris 2005, p. 2)
  151. Wolff (2000), pp. 456–461
  152. Forkel/Terry 1920, pp. 85–86.
  153. Listing of manuscripts of Bach compositions once in the possession of C. P. E. Bach at
  154. Peter Wollny. "Chapter twelve: Wilhelm Friedemann Bach's Halle performances of cantatas by his father", pp. 202-228 in Bach Studies 2 edited by Daniel R. Melamed. Cambridge University Press 2006. ISBN 9780521028912
  155. Forkel/Terry 1920, p. 139
  156. Wolff 2013, p. 459
  157. 1 2 3 4 Christoph Wolff. "A Bach Cult in Late-Eighteenth-Century Berlin: Sara Levy’s Musical Salon" in Bulletin of the American Academy. Spring 2005. pp. 26–31.
  158. 1 2 Applegate, 2005, p. 14
  159. Spitta 1899a, pp. 518–519, 611
  160. A-Wgm A 169 b (III 31685) at
  161. Preludes and Fugues, K.404a: Scores at the International Music Score Library Project
  162. Köchel, Ludwig Ritter von (1862). Chronologisch-thematisches Verzeichniss sämmtlicher Tonwerke Wolfgang Amade Mozart's (in German). Leipzig: Breitkopf & Härtel. OCLC 3309798. Archived from the original on 12 February 2008., No. 405, pp. 328–329
  163. "Bach, Mozart and the 'Musical Midwife'".
  164. Brown, A. Peter, The Symphonic Repertoire (Volume 2). Indiana University Press (ISBN 025333487X), pp. 423-432 (2002).
  165. 1 2 3 4 5 6 McKay, Cory. "The Bach Reception in the 18th and 19th century" at
  166. 1 2 Schenk, Winston & Winston (1959), p. 452
  167. Daniel Heartz. Mozart, Haydn and Early Beethoven: 1781-1802, p. 678. W. W. Norton & Company, 2008. ISBN 9780393285789
  168. Kerst (1904), p. 101
  169. Edward Noel Green. Chromatic Completion in the Late Vocal Music of Haydn and Mozart: A Technical, Philosophic, and Historical Study, p. 273 New York University. ISBN 9780549794516
  170. Geck (2006), pp. 9–10 (excerpt)
  171. Schneider 1907, p. 94
  172. Schneider 1907, pp. 96–97
  173. Schneider 1907, p. 100
  174. Forkel/Terry 1920, p. xvii
  175. Felix Mendelssohn Bartholdy. Magnificat, MWV A2 edited by Pietro Zappalà. Carus, 1996. Foreword, p. VI
  176. Johann Sebastian Bach's noch wenig bekannte Orgelcompositionen (auch am Pianoforte von einem oder zwei Spielern ausführbar), three volumes, edited by Adolph Bernhard Marx. Leipzig: Breitkopf & Härtel, 1833
  177. Kupferberg (1985), p. 126
  178. Spitta 1992, 1899a, 1899b (first publication in German, in two volumes: Leipzig, Breitkopf & Härtel 1873 and 1880)
  179. "Robert Johnson and Pablo Casals' Game Changers Turn 70". NPR Music. National Public Radio. Retrieved 22 February 2012.
  180. McComb, Todd M. "What is Early Music?–Historically Informed Performance". Early Music FAQ. Retrieved 2 January 2015.
  181. Shipton, Alyn. "Bach and Jazz". A Bach Christmas. BBC Radio 3. Retrieved 27 December 2014.
  182. 1 2 Rokus de Groot (2000). "And Nowhere Bach. Bach Reception in a Late Twentieth-Century Dutch Composition by Elmer Schönberger" pp. 145-158 in Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, Volume 50, No. 1/2. Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis.
  183. "Bach Edition" at 1 December 2001
  184. Teldec's 1999 Bach 2000 Box set, Limited Edition at
  185. Bach-Edition: The Complete Works (172 CDs & CDR) at the Hänssler Classic website
  186. "Golden Record: Music from Earth". NASA. Retrieved 26 July 2012.
  187. Bach, USGS Gazetteer of Planetary Nomenclature
  188. "JPL Small-Body Database Browser".
  189. List of works by Johann Sebastian Bach and Category:Bach, Johann Sebastian at IMSLP website
  193. Williams 2003
  194. Williams 2007
  195. Gardiner 2013
  196. "The 168 best classical music recordings" in The Telegraph. 2009, revised by Ivan Hewett in 2014.




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