Titles of Bach's concertos for orchestra. Bach's organ works

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

Main features of the organ style

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

Traditions of German organ art. Chorale preludes.

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

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

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

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

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

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

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

Prelude in Es major

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

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

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

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

Prelude in f minor

(“I call upon you, Lord”)

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

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

The texture clearly distinguishes three levels: the upper voice (the chorale theme itself, the sound of which in the middle register resembles singing), the bass line and middle voice- intonationally very expressive and rhythmically agile. 2-part form. The first section is clearly divided into sentences and ends with a clear cadence. The second develops more continuously.

Two-part polyphonic cycles

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

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

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

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

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

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

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

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

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

Fantasia and fugue g-moll

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

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

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

The tragedy of fantasy is opposed by energy and activity fugues. It is distinguished by its dance character and obvious connections with everyday secular music. The closeness to the folk genre's origins is manifested, in particular, in the reprise structure of the theme, its completeness, and the periodicity of rhythmic accents. The theme highlights wide, “brisk” leaps of fifths and octave, which, in combination with a springy, elastic rhythm, create a very dynamic image. The energy of movement is also supported by modal tonal development: the tonic and dominant of the main key are compared with the tonic and dominant of the parallel major.

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

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

Toccata, adagio and fugue in C major

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

Basic principle of construction toccatas- improvisation. It consists of several relatively complete sections, which differ from each other in the type of melodic movement (these are either virtuosic passages or sequential development of small melodic turns, or chord figuration - movement according to the sounds of chords). At the same time, there is a clear unifying logic in the toccata: a steady increase from beginning to end - the final majestic peak. It is achieved by a gradual increase in overall sonority, thickening the texture (due to the branching of voices, their roll calls in different registers). At the last stage of this movement, the lowest sounds of the organ - the organ pedal - come into play.

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

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

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

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

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

Johann Sebastian Bach, whose biography is still being carefully studied, is included, according to the New York Times, in the top 10 most interesting biographies of composers.

Along with his name are such surnames as Beethoven, Wagner, Schubert, Debussy and others.

Let us also get to know this great musician to understand why his work has become one of the pillars of classical music.

J. S. Bach - German composer and virtuoso

The name Bach is one of the first that comes to mind when listing great composers. Indeed, he was outstanding, as evidenced by more than 1,000 pieces of music that remained after his life.

But we shouldn’t forget about the second Bach – the musician. After all, both of them were true masters of their craft.

In both forms, Bach honed his skills throughout his life. The training did not end with the end of vocal school. It continued throughout my life.

Proof of professionalism, in addition to the surviving musical works, is the impressive career of the musician: from organist in the first position to director of music.

It is all the more surprising to realize that many contemporaries negatively perceived musical compositions composer. At the same time, the names of musicians popular in those years have practically not survived to this day. Only later did Mozart and Beethoven speak enthusiastically about the composer’s work. From the beginning of the 19th century, the work of the virtuoso musician began to revive thanks to the propaganda of Liszt, Mendelssohn and Schumann.

Now no one doubts the skill and enormous talent of Johann Sebastian. Bach's music is an example of the classical school. Books are written and films are made about the composer. The details of life are still a subject for research and study.

Brief biography of Bach

The first mention of the Bach family appeared in the 16th century. Among them were many famous musicians. Therefore, little Johann’s choice of profession was expected. By the 18th century, when the composer lived and worked, they knew about 5 generations of the musical family.

Father and mother

Father - Johann Ambrosius Bach was born in 1645 in Erfurt. He had a twin brother, Johann Christoph. Along with most of the representatives of his family, Johann Ambrosius worked as a court musician and music teacher.

Mother - Maria Elisabeth Lemmerhirt was born in 1644. She was also from Erfurt. Maria was the daughter of a city councilor, a respected man in the city. The dowry he left for his daughter was substantial, thanks to which she could live comfortably in marriage.

The parents of the future musician got married in 1668. The couple had eight children.

Johann Sebastian Bach was born on March 31, 1685, becoming the youngest child in the family. They then lived in the picturesque city of Eisenach with a population of about 6,000 people. Johann's mother and father are Germans, so his son is also German by nationality.

When little Johann was 9 years old, Maria Elisabeth died. A year later, a few months after the second marriage, the father dies.

Childhood

The orphaned 10-year-old boy was taken in by his older brother, Johann Christoph. He worked as a music teacher and church organist.

Johann Christoph taught little Johann to play the clavier and organ. It is the latter that is considered the composer’s favorite instrument.

Little is known about this period of life. The boy studied at a city school, which he graduated at the age of 15, although its graduates were usually young people 2-3 years older. This means we can conclude that school was easy for the boy.

Another fact from the biography is often mentioned. At night, the boy often copied notes of works by other musicians. One day, the elder brother discovered this and strictly forbade him to do this in the future.

Music training

After graduating from school at the age of 15, future composer entered the vocal school named after St. Michael, which was located in the city of Luneburg.

During these years, the biography of Bach, the composer, begins. During his studies from 1700 to 1703, he wrote the first organ music and gained knowledge about modern composers.

During the same period, he traveled for the first time to the cities of Germany. He will continue to have this passion for travel in the future. Moreover, all of them were done for the sake of getting acquainted with the work of other composers.

After graduating from vocal school, the young man could have entered the university, but the need to earn a living forced him to abandon this opportunity.

Service

After completing his studies, J. S. Bach received the position of musician at the court of Duke Ernst. He was only a performer, playing the violin. I haven’t started writing my own musical compositions yet.

However, dissatisfied with the job, after a few months he decides to change it and becomes the organist of the Church of St. Boniface in Arndstadt. During these years, the composer created many works, mainly for organ. That is, for the first time in the service I had the opportunity to be not only a performer, but also a composer.

Bach received a high salary, but after 3 years he decided to move due to tense relations with the authorities. Problems arose due to the fact that the musician was absent for a long time due to a trip to Lubeck. According to available information, he was released to this German city for 1 month, and he returned only after 4. In addition, the community expressed complaints about his ability to lead the choir. All this together prompted the musician to change jobs.

In 1707, the musician moved to Mülhusen, where he continued to work. In the Church of St. Blaise he had a higher salary. Relations with the authorities were going well. The city authorities were satisfied with the activities of the new employee.

However, a year later Bach moved again to Weimar. In this city he received a more prestigious position as a concert organizer. The 9 years spent in Weimar became a fruitful period for the virtuoso; here he wrote dozens of works. For example, he composed “Toccata and Fugue in D Minor” for organ.

Personal life

Before moving to Weimar, in 1707, Bach married his cousin Maria Barbara. During their 13 years of marriage, they had seven children, three of whom died in infancy.

After 13 years of marriage, his wife died, and the composer married again 17 months later. This time Anna Magdalena Wilke became his wife.

She was talented singer and subsequently sang in the choir, which was led by her husband. They had 13 children.

Two sons from his first marriage - Wilhelm Friedemann and Carl Philipp Emmanuel - became famous composers, continuing the musical dynasty.

Creative path

Since 1717 he has worked for the Duke of Anhalt-Köthen as a bandmaster. Over the next 6 years, numerous suites were written. The Bradenburg Concertos also belong to this period. If we generally evaluate the direction of the composer’s creative activity, it is worth noting that during this period he wrote mainly secular works.

In 1723, Bach became a cantor (that is, organist and choir conductor), as well as a teacher of music and Latin at the Church of St. Thomas. For this reason he moves to Leipzig again. In the same year, the work “St. John’s Passion” was performed for the first time, thanks to which he received a high position.

The composer wrote both secular and sacred music. He performed classical sacred works in a new way. The Coffee Cantata, the Mass in B minor and many other works were composed.

If we briefly characterize the work of the musical virtuoso, it is impossible to do without mentioning Bach’s polyphony. This concept in music was known before him, but it was during the composer’s life that people began to talk about free-style polyphony.

In general, polyphony means polyphony. In music, two equal voices sound simultaneously, and not just melody and accompaniment. The musician’s skill is evidenced by the fact that his works are still used by student musicians to study.

Last years of life and death

During the last 5 years of his life, the virtuoso rapidly lost his sight. To continue composing, he had to dictate music.

There were also problems with public opinion. Contemporaries did not appreciate Bach's music and considered it outdated. This was due to the flourishing of classicism that began during that period.

In 1747, three years before his death, the cycle “Music of the Offering” was created. It was written after the composer visited the court of Frederick II, King of Prussia. This music was intended for him.

The last work of the outstanding musician, “The Art of Fugue,” consisted of 14 fugues and 4 canons. But he didn’t have time to finish it. His sons did this for him after his death.

Some interesting moments from the life and work of the composer, musician and virtuoso:

1. After studying the family history, 56 musicians were found among the virtuoso’s relatives.
2. The musician’s surname is translated from German as “stream”.
3. Having heard a piece once, the composer could repeat it without error, which he did repeatedly.
4. Throughout his life, the musician moved eight times.
5. Thanks to Bach, women were allowed to sing in church choirs. His second wife became the first chorus member.
6. He wrote more than 1000 works throughout his life, so he is rightfully considered the most “prolific” author.
7. IN last years During his life, the composer was almost blind, and eye surgeries did not help.
8. The composer's grave remained without a tombstone for a long time.
9. Until now, not all biographical facts are known, some of them are not confirmed by documents. Therefore, the study of his life continues.
10. In the musician’s homeland, two museums dedicated to him were opened. In 1907, a museum was opened in Eisenach, and in 1985 in Leipzig. By the way, the first museum houses a lifetime portrait of the musician, made in pastel, about which long years nothing was known.

The most famous musical works of Bach

All works of his authorship were combined into single list– BWV catalogue. Each essay is assigned a number from 1 to 1127.

The catalog is convenient in that all works are divided by type of work, and not by year of writing.

To count how many suites Bach wrote, just look at their numbering in the catalogue. For example, the French suites are assigned numbers from 812 to 817. This means that a total of 6 suites were written within this cycle. In total, you can count 21 suites and 15 parts of suites.

The most recognizable piece is the Scherzo in B minor from Suite for Flute and String Orchestra No. 2, called “The Joke.” This melody was often used for ringing on mobile devices, but despite this, unfortunately, not everyone will be able to name its author.

Indeed, the names of many of Bach’s works are not well-known, but their melodies will seem familiar to many. For example, “Brandenburg Concertos”, “Goldberg Variations”, “Toccata and Fugue in D minor”.

Johann Sebastian Bach
Years of life: 1685-1750

Bach was a genius of such magnitude that even today he seems an unsurpassed, exceptional phenomenon. His creativity is truly inexhaustible: after the “discovery” of Bach’s music in the 19th century, interest in it has been steadily increasing, Bach’s works are winning audiences even among listeners who usually do not show interest in “serious” art.

Bach's work, on the one hand, was a kind of summing up. In his music, the composer relied on everything that had been achieved and discovered in musical art before him. Bach had an excellent knowledge of German organ music, choral polyphony, and the peculiarities of German and Italian violin style. He not only became acquainted with, but also copied the works of contemporary French harpsichordists (primarily Couperin), Italian violinists (Corelli, Vivaldi), and major representatives of Italian opera. Possessing an amazing sensitivity to everything new, Bach developed and generalized his accumulated creative experience.

At the same time, he was a brilliant innovator who opened up the development of world musical culture new perspectives. His powerful influence was reflected in the work of the great composers of the 19th century century (Beethoven, Brahms, Wagner, Glinka, Taneyev), and in the works of outstanding masters of the 20th century (Shostakovich, Honegger).

Bach's creative heritage is almost immense, it includes more than 1000 works of various genres, and among them there are those whose scale is exceptional for their time (MP). Bach's works can be divided into three main genre groups:

• vocal and instrumental music;
• organ music,
• music for other instruments (clavier, violin, flute, etc.) and instrumental ensembles (including orchestral).

The works of each group are mainly associated with a specific period creative biography Bach. The most significant organ works were created in Weimar, keyboard and orchestral works mainly belong to the Köthen period, vocal and instrumental works were mostly written in Leipzig.

The main genres in which Bach worked are traditional: masses and passions, cantatas and oratorios, choral arrangements, preludes and fugues, dance suites and concertos. Having inherited these genres from his predecessors, Bach gave them a scope that they had never known before. He updated them with new means of expression, enriched them with features borrowed from other genres musical creativity. A striking example is. Created for the clavier, it incorporates the expressive properties of large organ improvisations as well as dramatic recitation of theatrical origins.

Bach's work, for all its universality and inclusiveness, “passed by” one of the leading genres of its time - opera. At the same time, there is little that distinguishes some of Bach's secular cantatas from the comedic interlude, which was already being reborn at that time in Italy in opera-buffa. The composer often called them, like the first Italian operas, “dramas on music.” It can be said that such works of Bach as “Coffee” and “Peasant” cantatas, solved as witty genre scenes from Everyday life, anticipated the German Singspiel.

Circle of images and ideological content

The figurative content of Bach's music is limitless in its breadth. The majestic and the simple are equally accessible to him. Bach's art contains deep sorrow, simple-minded humor, acute drama and philosophical reflection. Like Handel, Bach reflected the essential aspects of his era - the first half of the 18th century, but others - not effective heroism, but religious and philosophical problems put forward by the Reformation. In his music he reflects on the most important eternal questions human life- about the purpose of a person, about his moral duty, about life and death. These reflections are most often associated with religious themes, because Bach served in the church almost all his life, wrote a huge part of the music for the church, and was himself a deeply religious person who knew the Holy Scriptures very well. He complied church holidays, fasted, confessed, and took communion a few days before his death. The Bible in two languages ​​- German and Latin - was his reference book.

Bach's Jesus Christ is the main character and ideal. In this image the composer saw the personification of the best human qualities: strength of spirit, fidelity to the chosen path, purity of thoughts. The most sacred thing in the history of Christ for Bach is Calvary and the cross, the sacrificial feat of Jesus for the salvation of humanity. This theme, being the most important in Bach's work, receives ethical, moral interpretation.

Musical symbolism

The complex world of Bach's works is revealed through musical symbolism that developed in line with Baroque aesthetics. Bach's contemporaries perceived his music, including instrumental, “pure” music, as understandable speech due to the presence in it of stable melodic turns expressing certain concepts, emotions, ideas. By analogy with classical oratory, these sound formulas are called musical rhetorical figures . Some rhetorical figures were of a figurative nature (for example, anabasis - ascent, catabasis - descent, circulatio - rotation, fuga - run, tirata - arrow); others imitated the intonations of human speech (exclamatio - exclamation - ascending sixth); still others conveyed affect (suspiratio - sigh, passus duriusculus - chromatic move used to express grief, suffering).

Thanks to stable semantics, musical figures turned into “signs”, emblems of certain feelings and concepts. For example, descending melodies (catadasis) were used to symbolize sadness, dying, and entombment; ascending scales expressed the symbolism of resurrection, etc.

Symbolic motifs are present in all of Bach’s works, and these are not only musical and rhetorical figures. IN symbolic meaning melodies often appear Protestant chorales, their segments.

Bach was associated with the Protestant chorale throughout his life - both by religion and by occupation as a church musician. He constantly worked with the chorale in the most different genres- organ chorale preludes, cantatas, passions. It is quite natural that P.Kh. has become an integral part musical language Bach.

The chorales were sung by the entire Protestant community; they were part of spiritual world human being as a natural, necessary element of worldview. Chorale melodies and the religious content associated with them were known to everyone, so people of Bach’s time easily formed associations with the meaning of the chorale, with a specific event Holy Scripture. Permeating all of Bach’s work, the melodies of P.H. fill his music, including instrumental music, with a spiritual program that clarifies the content.

Symbols are also stable sound combinations that have constant meanings. One of Bach's most important symbols is cross symbol, consisting of four notes in different directions. If you graphically connect the first with the third, and the second with the fourth, a cross pattern is formed. (It is curious that the surname BACH, when transcribed into music, forms the same pattern. Probably, the composer perceived this as a kind of finger of fate).

Finally, there are numerous connections between Bach’s cantata-oratorio (i.e. textual) works and his instrumental music. Based on all the listed connections and analysis of various rhetorical figures, a Bach's system of musical symbols. Huge contribution A. Schweitzer, F. Busoni, B. Yavorsky, M. Yudina contributed to its development.

"Second birth"

Bach's brilliant work was not truly appreciated by his contemporaries. While enjoying fame as an organist, during his lifetime he did not attract due attention as a composer. Not a single serious work has been written about his work, only an insignificant part of the works has been published. After Bach's death, his manuscripts gathered dust in the archives, many were irretrievably lost, and the composer's name was forgotten.

Genuine interest in Bach arose only in the 19th century. It was started by F. Mendelssohn, who accidentally found the notes of the “St. Matthew Passion” in the library. Under his direction this work was performed in Leipzig. Most listeners, literally shocked by the music, have never heard the name of the author. This was Bach's second birth.

On the centenary of his death (1850), a Bach Society, which set the goal of publishing all the surviving manuscripts of the composer in the form full meeting works (46 volumes).

Several of Bach's sons became prominent musicians: Philipp Emmanuel, Wilhelm Friedemann (Dresden), Johann Christoph (Bückenburg), Johann Christian (the youngest, "London" Bach).

Biography of Bach

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

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

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

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

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

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

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

Beginning of the toccata

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

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

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

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

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

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

For orchestra and orchestra with solo instruments:

6 Brandenburg Concertos; 4 suites (“overtures”); 7 concertos for harpsichord (clavier) and orchestra; 3 concertos for two harpsichords and orchestra; 2 concertos for three harpsichords and orchestra; 1 concert for four harpsichords and orchestra; 3 concertos for violin and orchestra; concert for flute, violin and harpsichord.

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

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

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

Musical offering. The art of fugue.

MAIN LIFE DATES

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

1693-1695 – Studying at school.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1734, end of December– Performance of the “Christmas Oratorio”.

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

1736 – The beginning of a two-year “struggle for the prefect” with the rector Tomashule I. Ernesti. November 19 A decree was signed in Dresden conferring the title of royal court composer on Bach. Friendship with the Russian ambassador G. Keyserling. December 1– A two-hour concert in Dresden on the Silbermann organ.

1738, April 28– “Night Music” in Leipzig. Bach completes the composition of the High Mass.

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

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

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

1745 – Testing of a new organ in Dresden.

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

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

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

BRIEF BIBLIOGRAPHY

Bazunov S. A. I. S. Bach, his life and musical activity. St. Petersburg, 1894.

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Belza I. High Mass. Introductory article to the publication: Bach J. S. Mass in B minor. Arranged for singing with piano. M., 1955.

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Livanova T. Dramaturgy of Bach and its historical connections. Part I. Symphony. M.-L., 1948.

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

Translation by Ksenia Stebneva.

Translated by Ya. S. Druskin.

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

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

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

Translation by Ksenia Stebneva.

Emphasized by us. CM.

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

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

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

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

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

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