{"id":325,"date":"2015-06-02T18:37:30","date_gmt":"2015-06-02T18:37:30","guid":{"rendered":"https:\/\/courses.candelalearning.com\/musicx15xmaster\/?post_type=chapter&p=325"},"modified":"2015-06-16T21:56:31","modified_gmt":"2015-06-16T21:56:31","slug":"johann-sebastian-bach","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/chapter\/johann-sebastian-bach\/","title":{"raw":"Johann Sebastian Bach ","rendered":"Johann Sebastian Bach"},"content":{"raw":"Johann Sebastian Bach is without a doubt one of the great geniuses to have walked the stage of history. \u00a0Though now considered one of the great composers, he was recognized in his day primarily for his skill as a virtuoso organist and improviser. It wasn't until the nineteenth\u00a0century that his music began to be internationally revered the way it is now, though great eighteenth\u00a0century composers such as Mozart and Beethoven greatly admired and studied his manuscripts. The material on this page is quite\u00a0extensive. While you should spend most of this page reading carefully,\u00a0I would suggest skimming through all of the section called \"Life,\"\u00a0looking for major musical influences in his life. Additionally, you should try to identify where he composed the pieces we have on our playlist by Bach.\u00a0Bach is one of the greats. I hope you enjoy getting to know him a little better.\r\n

Introduction<\/h2>\r\n[caption id=\"attachment_358\" align=\"alignright\" width=\"250\"]\"Figure<\/a> Figure 1. Portrait of Bach, aged 61, Haussmann, 1748[\/caption]\r\n\r\nJohann Sebastian Bach<\/b>\u00a0(31 March\u00a01685\u201328 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\u00a0Brandenburg Concertos<\/i>, the Goldberg Variations<\/i>, the Mass in B minor, two Passions, and over three hundred sacred cantatas of which nearly two hundred survive.\u00a0His music is revered for its technical command, artistic beauty, and intellectual depth.\r\n\r\nBach was born in Eisenach, 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.\u00a0<\/span>Apparently at his own initiative, Bach attended St. Michael's School in L\u00fcneburg for two years. After graduating he held several musical posts across Germany: he served as Kapellmeister<\/span> (director of music) to Leopold, Prince of Anhalt-K\u00f6then, Cantor of the Thomasschule<\/span> in Leipzig, and Royal Court Composer to Augustus\u00a0III.\u00a0Bach's health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia.\r\n\r\nBach's abilities as an organist were respected throughout Europe during his lifetime, although he was not widely recognized as a great composer until a revival of interest and performances of his music in the first half of the nineteenth\u00a0century. He is now generally regarded as one of the greatest composers of all time.\r\n

Life<\/h2>\r\n

Childhood (1685\u20131703)<\/span><\/h3>\r\nJohann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 31 March 1685. He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth L\u00e4mmerhirt.\u00a0<\/span>He was the eighth child of Johann Ambrosius, (the eldest son in the family was 14 at the time of Bach's birth)\u00a0<\/span>who probably taught him violin and the basics of music theory.\u00a0His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645\u201393), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677\u20131731), was a well-known composer and violinist. Bach drafted a genealogy around 1735, titled \"Origin of the musical Bach family.\"\r\n\r\nBach's mother died in 1694, and his father died eight months later.\u00a0Bach, aged 10, moved in with his oldest brother, Johann Christoph Bach (1671\u20131721), the organist at St.\u00a0Michael's Church in Ohrdruf, Saxe-Gotha-Altenburg.\u00a0There 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.\u00a0He received valuable teaching from his brother, who instructed him on the clavichord. J.C.\u00a0Bach 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;\u00a0Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, 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.\r\n\r\nAt the age of 14, Bach, along with his older school friend Georg Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in L\u00fcneburg in the Principality of L\u00fcneburg.\u00a0<\/span>Although it is not known for certain, the trip was likely taken mostly on foot.\u00a0His two years there were critical in exposing him to a wider facet of European culture. In addition to singing in the choir he played the School's three-manual organ and harpsichords.\u00a0He came into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in other disciplines.\r\n\r\nWhile in L\u00fcneburg, Bach had access to St.\u00a0John's Church and possibly used the church's famous organ, built in 1549 by Jasper Johannsen, since it was played by his organ teacher Georg B\u00f6hm.\u00a0Given his musical talent, Bach had significant contact with B\u00f6hm while a student in L\u00fcneburg, and also took trips to nearby Hamburg where he observed \"the great North German organist Johann Adam Reincken.\"\u00a0Stauffer 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.\"\r\n

Weimar, Arnstadt, and M\u00fchlhausen (1703\u201308)<\/span><\/h3>\r\n[caption id=\"attachment_357\" align=\"alignright\" width=\"250\"]\"Figure<\/a> Figure 2. St. Boniface's Church, Arnstadt[\/caption]\r\n\r\nIn January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen,\u00a0Bach was appointed court musician in the chapel of Duke Johann Ernst\u00a0III\u00a0in Weimar.\u00a0His role there is unclear, but likely 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 St. Boniface's Church in Arnstadt, located about 30 kilometres (19\u00a0miles) southwest of Weimar.\u00a0In August 1703, he became the organist at St. Boniface's, 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.\r\n\r\nDespite 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\u201306, to visit the great organist and composer Dieterich Buxtehude and his Abendmusikenat St.\u00a0Mary's Church in the northern city of L\u00fcbeck. The visit to Buxtehude involved a 450-kilometre (280\u00a0mi) journey each way, reportedly on foot.\r\n\r\nIn 1706, Bach was offered a post as organist at St.\u00a0Blasius's Church in M\u00fchlhausen, which he took up the following year. It included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at M\u00fchlhausen, Bach married Maria Barbara Bach, his second cousin. They had seven children, four of whom survived to adulthood, including Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach who both became important composers as well. Bach was able to convince the church and town government at M\u00fchlhausen to fund an expensive renovation of the organ at St. Blasius's Church. Bach, in turn, wrote an elaborate, festive cantata\u2014Gott ist mein K\u00f6nig<\/span><\/i> (BWV 71)\u2014for the inauguration of the new council in 1708. The council paid handsomely for its publication, and it was a major success.\r\n

Return to Weimar (1708\u201317)<\/span><\/h3>\r\nIn 1708, Bach left M\u00fchlhausen, returning to Weimar this time as organist and from 1714 Konzertmeister<\/span><\/i> (director of music) at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.\u00a0Bach moved with his family into an apartment very close to the ducal palace. In the following year, their first child was born and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729.\r\n\r\nBach'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.\r\n\r\nIn Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke's ensemble.\u00a0He also began to write the preludes and fugues which were later assembled into his monumental work The Well-Tempered Clavier<\/i> (Das Wohltemperierte Clavier<\/span><\/i>\u2014\"Clavier\"<\/i> meaning clavichord or harpsichord),\u00a0consisting of two books, compiled in 1722 and 1744,\u00a0each containing a prelude and fugue in every major and minor key.\r\n
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Listen: Prelude No. 1 in C major (BWV 846)<\/h4>\r\nPlease listen to the following performance from The Well-Tempered Clavier<\/em>, Book 1, performed on harpsichord by Robert Schr\u00f6ter.\r\n\r\n[audio ogg=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/592\/2016\/02\/21174021\/Bach_C_Major_Prelude_Werckmeister.ogg\"][\/audio]\r\n\r\n<\/div>\r\nAlso in Weimar Bach started work on the Little Organ Book<\/i>, 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.\r\n\r\nIn the spring of 1714, Bach was promoted to Konzertmeister<\/span><\/i>, an honour that entailed performing a church cantata monthly in the castle church.\u00a0The first three cantatas Bach composed in Weimar were Himmelsk\u00f6nig, sei willkommen<\/i>, BWV 182<\/span>, for Palm Sunday, which coincided with theAnnunciation that year, Weinen, Klagen, Sorgen, Zagen<\/i>, BWV 12<\/span>, for Jubilate Sunday, and Erschallet, ihr Lieder, erklinget, ihr Saiten!<\/i> BWV 172<\/span>for Pentecost.\u00a0Bach's first Christmas cantata Christen, \u00e4tzet diesen Tag<\/i>, BWV 63<\/span> was premiered in 1714 or 1715.\r\n\r\nIn 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\u00a06, [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\u00a02 was freed from arrest with notice of his unfavourable discharge.\"\r\n

K\u00f6then (1717\u201323)<\/span><\/h3>\r\n[caption id=\"attachment_359\" align=\"alignright\" width=\"250\"]\"Figure<\/a> Figure 3. The autograph of Bach's Violin Sonata No. 1 in G minor (BWV 1001)[\/caption]\r\n\r\nLeopold, Prince of Anhalt-K\u00f6then hired Bach to serve as his Kapellmeister<\/span> (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,\u00a0including the orchestral suites, the cello suites, the sonatas and partitas for solo violin, and the Brandenburg Concertos<\/i>.\u00a0Bach also composed secular cantatas for the court such as Die Zeit, die Tag und Jahre macht<\/i>, BWV 134a<\/span>. 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.\"\r\n\r\nDespite being born in the same year and only about 130 kilometres (81\u00a0mi) apart, Bach and Handel never met. In 1719, Bach made the 35-kilometre (22\u00a0mi) journey from K\u00f6then to Halle with the intention of meeting Handel, however Handel had left the town.\u00a0In 1730, Bach's son Wilhelm Friedemann travelled to Halle to invite Handel to visit the Bach family in Leipzig, but the visit did not come to pass.\r\n\r\nOn 7 July 1720, while Bach was on travel to Carlsbad with Prince Leopold, Bach's first wife suddenly died.\u00a0The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano seventeen years his junior, who performed at the court in K\u00f6then; they married on 3 December 1721.\u00a0Together they had thirteen more children, six of whom survived into adulthood: Gottfried Heinrich; Elisabeth Juliane Friederica (1726\u201381), who married Bach's pupil Johann Christoph Altnickol; Johann Christoph Friedrich and Johann Christian, who both became significant musicians; Johanna Carolina (1737\u201381); and Regina Susanna (1742\u20131809).\r\n

Leipzig (1723\u201350)<\/span><\/h3>\r\nIn 1723, Bach was appointed Thomaskantor<\/i>, Cantor of the Thomasschule<\/span> at the Thomaskirche<\/span> (St. Thomas Church) in Leipzig which served four churches in the city, the Thomaskirche<\/span>, the Nikolaikirche\u00a0<\/span>(St. Nicholas Church), the Neue Kirche<\/span> and the Peterskirche<\/span>,\u00a0and musical director of public functions such as city council elections and homages. This was a prestigious post in the mercantile city in the Electorate of Saxony, which he held for twenty-seven years until his death. It brought him into contact with the political machinations of his employer, Leipzig's city council.\r\n\r\nBach was required to instruct the students of the Thomasschule<\/span> 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 a deputy to do this instead. A cantata was required for the church services on Sundays and additional church holidays during the liturgical year. He usually performed his own cantatas, most of which were composed during his first three years in Leipzig. The first of these was Die Elenden sollen essen<\/i>, BWV 75<\/span>, first performed in the Nikolaikirche<\/span> on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant.\u00a0Of the more than three hundred cantatas which Bach composed in Leipzig, over one hundred have been lost to posterity.\u00a0Most 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\u00a0Ewigkeit, du Donnerwort<\/i>, BWV 20<\/span>, Wachet auf, ruft uns die Stimme<\/i>, BWV 140<\/span>, Nun komm, der Heiden Heiland<\/i>, BWV 62<\/span>, and Wie sch\u00f6n leuchtet der Morgenstern<\/i>, BWV 1<\/span>.\r\n
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Listen: Wachet auf, ruft uns die Stimme (BWV 140)<\/h4>\r\nPlease listen to the following opening chorale from cantata BWV 140, performed by the MIT Concert Choir.\r\n\r\n[audio ogg=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/6\/60\/Bach_-_cantata_140._1._chorus.ogg\"][\/audio]\r\n\r\n<\/div>\r\nBach 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\u00a0motets.\u00a0As part of his regular church work, he performed other composers' motets, which served as formal models for his own.\r\n\r\nBach's predecessor as Cantor, Johann Kuhnau, had also been music director for the Paulinerkirche<\/span>, 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<\/span>; his petition to provide music also for regular Sunday services there (for corresponding salary increase) went all the way up to King\u00a0Augustus\u00a0II but was denied. After this, in 1725, Bach \"lost interest\" in working even for festal services at the Paulinerkirche<\/span> and appeared there only on \"special occasions.\"\u00a0The Paulinerkirche<\/span> had a much better and newer (1716) organ than did the Thomaskirche<\/span> or the Nikolaikirche<\/span>. Bach had been consulted officially about the 1716 organ after its completion, came from K\u00f6then, and submitted a report.\u00a0Bach was not required to play any organ in his official duties, but it is believed he liked to play on the Paulinerkirche<\/span> organ \"for his own pleasure.\"\r\n\r\nBach 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 the composer\u00a0Georg Philipp 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.\"\u00a0Year round, the Leipzig's Collegium Musicum performed regularly in venues such as the Caf\u00e9 Zimmermann, a\u00a0coffeehouse 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\u00a0Clavier-\u00dcbung<\/span><\/i> (Keyboard Practice<\/i>) and many of his violin and keyboard concertos.\r\n\r\nIn 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 King of Poland, Grand Duke of Lithuania and Elector of Saxony, Augustus\u00a0III in an eventually successful bid to persuade the monarch to appoint him as Royal Court Composer.\u00a0He later extended this work into a full mass, by adding aCredo<\/span><\/i>, Sanctus<\/span><\/i> and Agnus Dei<\/span><\/i>, the music for which was partly based on his own cantatas, partly new 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 took over the directorship of the Collegium Musicum.\r\n\r\nIn 1747, Bach visited the court of King Frederick\u00a0II 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<\/i> which consists of fugues, canons and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration.\r\n\r\nIn the same year Bach joined the Corresponding Society of the Musical Sciences (Correspondierende Societ\u00e4t der musicalischen Wissenschaften<\/span><\/i>) 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).\u00a0A 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.\u00a0<\/span>The Canon triplex \u00e1 6 Voc.<\/i> (BWV 1076) on this portrait was dedicated to the Society.\u00a0Other late works by Bach may also have a connection with the music theory based Society.\u00a0One of those works was The Art of Fugue<\/i>, which consists of 18 complex fugues and canons based on a simple theme.\u00a0The Art of Fugue<\/i> was only published posthumously in 1751.\r\n\r\nBach's last large work was the Mass in B minor (1748\u201349) 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.\"\u00a0<\/span>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.\r\n

Death (1750)<\/span><\/h3>\r\n[caption id=\"attachment_362\" align=\"alignright\" width=\"250\"]\"Figure<\/a> Figure 4. Bach's grave, St. Thomas Church, Leipzig[\/caption]\r\n\r\nBach's health declined in 1749; on 2 June, Heinrich von Br\u00fchl wrote to one of the Leipzig burgomasters to request that his music director, Johann Gottlob Harrer, fill the Thomaskantor<\/span><\/i> and Director musices<\/span><\/i> posts \"upon the eventual\u00a0. . . decease of Mr. Bach.\"\u00a0Bach became increasingly blind, so the British eye surgeon John Taylor\u00a0operated on Bach while visiting Leipzig in March or April 1750.\r\n\r\nOn 28 July 1750 Bach died at the age of 65. A contemporary newspaper reported \"the unhappy consequences of the very unsuccessful eye operation\" as the cause of death.\u00a0Modern historians speculate that the cause of death was a stroke complicated by pneumonia.\u00a0His son Carl Philipp Emanuel and his pupil Johann Friedrich Agricola wrote an obituary of Bach.\u00a0<\/span>In 1754, it was published by Lorenz Christoph Mizler in the musical periodical Musikalische Bibliothek<\/span><\/i>. This obituary arguably remains \"the richest and most trustworthy\"\u00a0early source document about Bach.\r\n\r\nBach's estate included five harpsichords, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, and fifty-two \"sacred books,\" including books by Martin Luther and Josephus.\u00a0He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years. 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\u00a0II, so in 1950 Bach's remains were taken to their present grave in St. Thomas Church.\u00a0Later research has called into question whether the remains in the grave are actually those of Bach.\r\n

Legacy<\/h2>\r\nAfter his death, Bach's reputation as a composer at first declined; his work was regarded as old-fashioned compared to the emerging gallant\u00a0style.\u00a0Initially he was remembered more as a virtuoso player of the organ and as a teacher.\r\n\r\nMany of Bach's unpublished manuscripts were distributed among his wife and musician sons at the time of his death. Unfortunately, the poor financial condition of some of the family members led to the sale and subsequent loss of parts of Bach's compositions, including over one hundred cantatas and his St Mark Passion<\/i>, of which no copies are known to survive.\r\n\r\nDuring the late eighteenth\u00a0and early nineteenth\u00a0century, Bach was recognized by several prominent composers for his keyboard work. Wolfgang Amadeus Mozart, Ludwig van Beethoven, Fr\u00e9d\u00e9ric Chopin, Robert Schumann, and Felix Mendelssohn were among his admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.\u00a0Beethoven described him as \"Urvater der Harmonie,<\/span><\/i>\" the \"original father of harmony.\"\r\n\r\nBach's reputation among the wider public was enhanced in part by Johann Nikolaus Forkel's 1802 biography of the composer.\u00a0Felix Mendelssohn significantly contributed to the renewed interest in Bach's work with his 1829 Berlin performance of the St Matthew Passion<\/i>.\u00a0In 1850, the Bach-Gesellschaft<\/span> (Bach Society) was founded to promote the works; in 1899 the Society published a comprehensive edition of the composer's works with little editorial intervention.\r\n\r\nDuring the 20th century, the process of recognizing 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.\u00a0Another development has been the growth of the historically informed performance movement, which attempts to take into account the aesthetic criteria and performance practice of the period in which the music was conceived. Examples include the playing of keyboard works on harpsichord rather than modern grand piano and the use of small choirs or single voices instead of the larger forces favored by nineteenth- and early twentieth-century performers.\r\n\r\nThe 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 Sch\u00fctz. In other circles, Bach's music is bracketed with the literature of William Shakespeare and the science of Isaac Newton.\r\n\r\nDuring the 20th century, many streets in Germany were named and statues were erected in honor of Bach. A large crater in the Bach quadrangle on Mercury is named in Bach's honor\u00a0as are the main-belt asteroids 1814 Bach and 1482 Sebastiana.\u00a0Bach's music features three times\u2014more than that of any other composer\u2014on 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.\r\n

Works<\/h2>\r\nIn 1950, a thematic catalogue called Bach-Werke-Verzeichnis<\/span><\/i> (Bach Works Catalogue) was compiled by Wolfgang Schmieder.\u00a0Schmieder largely followed the Bach-Gesellschaft-Ausgabe<\/span><\/i>, a comprehensive edition of the composer's works that was produced between 1850 and 1900: BWV 1\u2013224 are cantatas; BWV 225\u2013249, large-scale choral works including his\u00a0Passions; BWV 250\u2013524, chorales and sacred songs; BWV 525\u2013748, organ works; BWV 772\u2013994, other keyboard works; BWV 995\u20131000, lute music; BWV 1001\u201340, chamber music; BWV 1041\u201371, orchestral music; and BWV 1072\u20131126, canons and fugues.\r\n

Organ works<\/h3>\r\nBach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres\u2014such as preludes, fantasias, and\u00a0toccatas\u2014and stricter forms, such as chorale preludes and fugues.\u00a0At 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 B\u00f6hm, with whom Bach came into contact in L\u00fcneburg, and Dieterich Buxtehude, whom the young organist visited in L\u00fcbeck 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\u201314) he composed about a dozen pairs of preludes and fugues, five toccatas and fugues, and the Little Organ Book<\/i>, 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-\u00dcbung\u00a0III<\/span><\/i> 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.\r\n
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Listen:\u00a0Keyboard Work<\/h4>\r\nPlease listen to the\u00a0opening aria from the Goldberg Variations\u00a0<\/i>(BWV 988), performed on piano by\u00a0Kimiko Ishizaka.\r\n\r\n[audio ogg=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/4\/42\/Goldberg_Variations_01_Aria.ogg\"][\/audio]\r\n\r\n<\/div>\r\n

Orchestral and chamber music<\/h3>\r\nBach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six sonatas and partitas for violin (BWV 1001\u20131006), six cello suites (BWV 1007\u20131012), and partita for solo flute (BWV 1013), are widely considered among the most profound works in the repertoire.\u00a0Bach composed a suite and several other works which have been claimed (since 1900) for the solo lute, but there is no evidence that he wrote for this instrument.\u00a0He wrote trio sonatas; solo sonatas (accompanied by continuo) for the flute and for the viola da gamba; and a large number of canons and ricercars, mostly with unspecified instrumentation. The most significant examples of the latter are contained in The Art of Fugue<\/i> and The Musical Offering<\/i>.\r\n\r\nBach's best-known orchestral works are the Brandenburg Concertos<\/i>, 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.\u00a0These works are examples of the concerto grosso genre. Other surviving works in the concerto form include two violin concertos (BWV 1041 and BWV 1042); a concerto for two violins in D minor (BWV 1043), often referred to as Bach's \"double\" concerto; and concertos for one to four harpsichords. It is widely accepted that many of the harpsichord concertos were not original works, but arrangements of his concertos for other instruments now lost.\u00a0A number of violin, oboe, and flute concertos have been reconstructed from these. In addition to concertos, Bach wrote four orchestral suites, and a series of stylized dances for orchestra, each preceded by a French overture.\r\n

Cantatas<\/h3>\r\n[caption id=\"attachment_361\" align=\"alignright\" width=\"250\"]\"Figure<\/a> Figure 5. St. Thomas Church, Leipzig[\/caption]\r\n\r\nAs the Thomaskantor<\/span>, beginning mid of 1723, Bach performed a cantata each Sunday and feast day that corresponded to the lectionary readings of the week.\u00a0Although Bach performed cantatas by other composers, he composed at least three entire annual cycles of cantatas at Leipzig, in addition to those composed at M\u00fchlhausen and Weimar.\u00a0In total he wrote more than three hundred sacred cantatas, of which nearly two hundred survive.\r\n\r\nHis 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 recitative is part of the corresponding Bible reading for the week and the aria is a contemporary reflection on it. The melody of the concluding chorale often appears as a cantus firmus in the opening movement. Among his best known cantatas are:\r\n