Johann Sebastian Bach

German composer (1685–1750)

Several terms redirect here. For other uses, see Bach (disambiguation) and Johann Sebastian Bach (disambiguation).

Johann Sebastian Bach

1748 portrait of Bach, showing him holding a copy of the six-part canon BWV 1076.[1]

Born| 21 March 1685 (O.S.)
31 March 1685 (1685-03-31) (N.S.)

Eisenach

Died| 28 July 1750(1750-07-28) (aged 65)

Leipzig

Works| List of compositions
Relatives| Bach family
Signature

Johann Sebastian Bach[n 1] (31 March [O.S. 21 March] 1685 - 28 July 1750) was a German composer and musician of the late Baroque period. He is known for his prolific authorship of music across a variety of instruments and forms, including orchestral music such as the Brandenburg Concertos; solo instrumental works such as the cello suites and sonatas and partitas for solo violin; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schubler Chorales and the Toccata and Fugue in D minor; and choral works such as the St Matthew Passion and the Mass in B minor. Since the 19th century Bach Revival, he has been generally regarded as one of the greatest composers in the history of Western music.[2][3]

The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician, Johann Ambrosius, in Eisenach. After being orphaned at the age of 10, he lived for five years with his eldest brother Johann Christoph, after which he continued his musical education in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer periods, at courts in Weimar, where he expanded his organ repertory, and Köthen, where he was mostly engaged with chamber music. From 1723, he was employed as Thomaskantor (cantor at St Thomas's) in Leipzig. There, he composed music for the principal Lutheran churches of the city and its university's student ensemble Collegium Musicum. From 1726, he published some of his keyboard and organ music. In Leipzig, as had happened during some of his earlier positions, he had difficult relations with his employer. This situation was little remedied when his sovereign, Augustus III of Poland, granted him the title of court composer in 1736. In the last decades of his life, he reworked and extended many of his earlier compositions. He died of complications after a botched eye surgery in 1750 at the age of 65.

Bach enriched established German styles through his mastery of counterpoint, harmonic, and motivic organisation,[4] and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios, and motets. He often adopted Lutheran hymns, not only in his larger vocal works but, for instance, also in his four-part chorales and his sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ contrapuntal techniques like canon and fugue.

Throughout the 18th century, Bach was primarily valued as an organist, while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities. The 19th century saw the publication of some significant Bach biographies, and by the end of that century, all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals (and later also websites) exclusively devoted to him and other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements, including the Air on the G String and "Jesu, Joy of Man's Desiring", and of recordings, such as three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death.

## Life

[edit]

### Childhood (1685–1703)

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Johann Ambrosius Bach, 1685, Bach's father. Painting attributed to Johann David Herlicius [de]

Further information: Bach family

Johann Sebastian Bach[n 1] 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 eighth and youngest child of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt.[7][8][9] His father likely taught him violin and basic music theory. His uncles were all professional musicians whose posts included church organists, court chamber musicians, and composers.[10] One uncle, Johann Christoph Bach, introduced him to the  organ,[11] and an older second cousin, Johann Ludwig Bach, was a well-known composer and violinist.[10][n 2]

Bach's mother died in 1694, and his father died eight months later.[12] The 10-year-old Bach moved in with his eldest brother, Johann Christoph Bach, the organist at St. Michael's Church in Ohrdruf, Saxe-Gotha-Altenburg.[13] 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.[14][15] He received valuable teaching from his brother, who instructed him on the clavichord. Johann Christoph exposed him to the works of great composers of the day, including South Germans such as Johann Caspar Kerll, Johann Jakob Froberger and Johann Pachelbel (under whom Johann Christoph had studied); North Germans;[16] Frenchmen such as Jean-Baptiste Lully, Louis Marchand and Marin Marais;[17] and even the Italian Girolamo Frescobaldi.[18] He learned theology, Latin and  Greek at the local gymnasium.[19]

By 3 April 1700, Bach and his school friend Georg Erdmann - who was two years older than Bach - were enrolled in the prestigious St. Michael's School in Lüneburg, some two weeks' travel north of Ohrdruf.[20][21] Their journey was probably undertaken mostly on foot.[21] His two years there were critical in exposing Bach to a broader range of European culture. In addition to singing in the choir, he played the school's three-manual organ and harpsichords.[22] He also came into contact with sons of aristocrats from northern Germany who had been sent to the nearby Ritter-Academie to prepare for careers in other disciplines.[23]

### Weimar, Arnstadt, and Mühlhausen (1703–1708)

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The Wender organ Bach played in Arnstadt

In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen,[24] Bach was appointed court musician in the chapel of Duke Johann Ernst III in Weimar.[25] 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.[26] On 14 August 1703, he became the organist at the New Church,[11] with light duties, a relatively generous salary, and a new organ tuned in a temperament that allowed music written in a wider range of keys to be played.[27]

Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach felt discontented with the calibre of musicians he was collaborating with. He called one of them, Geyersbach, a "Zippel Fagottist" (weenie bassoonist). Late one evening, Geyersbach went after Bach with a stick. Bach filed a complaint against Geyersbach with the authorities. They acquitted Geyersbach with a minor reprimand and ordered Bach to be more moderate regarding the musical qualities he expected from his students. Some months later, Bach upset his employer with a prolonged absence from Arnstadt: after obtaining leave for four weeks, he was absent for around four months in 1705–1706 to take lessons from the organist and composer Johann Adam Reincken and to hear him and Dieterich Buxtehude play in the northern city of Lübeck. The visit to Buxtehude and Reincken involved a 450-kilometre (280 mi) journey each way, reportedly on foot.[28][29] Buxtehude probably introduced Bach to his friend Reincken so that he could learn from his compositional technique (especially his mastery of the fugue), his organ playing and his skills with improvisation. Bach knew Reincken's music very well; he copied Reincken's monumental An Wasserflüssen Babylon when he was fifteen years old. Bach later wrote several other works on the same theme. When Bach revisited Reincken in 1720 and showed him his improvisatory skills on the organ, Reincken reportedly remarked: "I thought that this art was dead, but I see that it lives in you."[30]

In 1706, Bach applied for a post as organist at the Blasius Church in Mühlhausen.[31][32] 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.[33] A month later, Bach's application was accepted, and he took up the post in July.[31] The position included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. Bach convinced 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.[22]

### Return to Weimar (1708–1717)

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Further information: Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 § Background

Organ of the St. Paul's Church in Leipzig, tested by Bach in 1717

Bach left Mühlhausen in 1708, 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.[22] Bach and his wife moved into a house near the ducal palace.[34] 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 she died 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 – twins born in 1713 and a single birth; none survived until their first birthday.[35]

Bach's time in Weimar began a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and include influences from abroad. He learned to write dramatic openings and employ the dynamic rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects to a certain extent 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.[36]

In Weimar, Bach continued to play and compose for the organ and perform concert music with the duke's ensemble.[22] He also began to write the preludes and fugues which were later assembled into his monumental work The Well-Tempered Clavier ("clavier" meaning clavichord or harpsichord),[37] consisting of two books,[38] each containing 24 preludes and fugues in every major and minor key. Bach also started work on the Little Organ Book in Weimar, containing traditional Lutheran chorale 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.[39][40]

In the spring of 1714, Bach was promoted to Konzertmeister, an honour that entailed performing a church cantata monthly in the castle church.[41] The first three cantatas in the new series 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.[42] Bach's first Christmas cantata, Christen, ätzet diesen Tag, BWV 63, premiered in 1714 or 1715.[43][44]

In 1717, Bach eventually fell out of favour in Weimar and, according to a translation of the court secretary's report, was jailed for almost a month before being unfavourably dismissed: "On November 6, [1717], the quondam [former] 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."[45]

### Köthen (1717–1723)

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Bach's autograph of the first movement of the first sonata for solo violin, BWV 1001

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 a Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular,[46] including the orchestral suites, cello suites, sonatas and partitas for solo violin, and the Brandenburg Concertos.[47] Bach also composed secular cantatas for the court, such as Die Zeit, die Tag und Jahre macht, BWV 134a.

Despite being born in the same year and only about 130 kilometres (80 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.[48][49] 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 take place.[50]

On 7 July 1720, while Bach was away in Carlsbad with Prince Leopold, Bach's wife, Maria Barbara Bach, suddenly died.[51] The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano 16 years his junior, who performed at the court in Köthen; they married on 3 December 1721.[52] Together they had 13 children, six of whom survived into adulthood: Gottfried Heinrich; Elisabeth Juliane Friederica (1726–1781); Johann Christoph Friedrich and Johann Christian, who both, especially Johann Christian, became significant musicians; Johanna Carolina (1737–1781); and Regina Susanna (1742–1809).[53]

### Leipzig (1723–1750)

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In 1723, Bach was appointed Thomaskantor director of church music in Leipzig. He had to direct the St. Thomas School and provide four churches with music, the St. Thomas Church, the St. Nicholas Church, and to a lesser extent, the New Church and St. Peter's Church.[54] This was "the leading cantorate in Protestant Germany",[55] located in the mercantile city in the Electorate of Saxony, which he held for 27 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.[55] Bach frequently disagreed with his employer, Leipzig's city council, which he regarded as "penny-pinching".[56]

#### Appointment in Leipzig

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St. Thomas Church and School, Leipzig in 1723

Johann Kuhnau had been Thomaskantor in Leipzig from 1701 until his death on 5 June 1722. Bach had visited Leipzig during Kuhnau's tenure: in 1714, he attended the service at the St. Thomas Church on the first Sunday of Advent,[57] and in 1717 he had tested the organ of the St. Paul's Church.[58] In 1716, Bach and Kuhnau had met on the occasion of the testing and inauguration of an organ in Halle.[40]

The position was offered to Bach only after it had been offered first to Georg Philipp Telemann and then to Christoph Graupner, both of whom chose to stay where they were – Telemann in Hamburg and Graupner in Darmstadt – after using the Leipzig offer to negotiate improved conditions of employment.[59][60]

Bach was required to instruct the students of the Thomasschule in singing and provide church music for the main churches in Leipzig. He was also assigned to teach Latin but was allowed to employ four "prefects" (deputies) to do this instead. The prefects also aided with musical instruction.[61] A cantata was required for the church services on Sundays and additional church holidays during the liturgical year.

#### Cantata cycle years (1723–1729)

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Bach usually led performances of his cantatas, most composed within three years of his relocation to Leipzig. He assumed the office of Thomaskantor on 30 May 1723, presenting the first new cantata, Die Elenden sollen essen, BWV 75, in the St. Nicholas Church on the first Sunday after Trinity.[62] Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, and three are extant.[42] Of the more than 300 cantatas Bach composed in Leipzig, over 100 have been lost to posterity.[63] Most of these works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle on the first Sunday after the 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; probably for this purpose, and for in-school training, he wrote at least six motets.[64] As part of his regular church work, he performed other composers' motets, which served as formal models for his own.[65]

Bach's predecessor as cantor, Johann Kuhnau, had also been music director for the St. Paul's Church, 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 St. Paul's Church; his petition to also provide music for regular Sunday services there (for a corresponding salary increase) went all the way to the Elector but was denied. After this, in 1725, Bach "lost interest" in working even for festal services at St. Paul's Church and decided to appear there only on "special occasions".[66] The St. Paul's Church had a much better and newer (1716) organ than the St. Thomas Church or the St. Nicholas Church.[67] Bach was not required to play any organ in his official duties, but it is believed he liked to play on the St. Paul's Church organ "for his own pleasure".[68]

Café Zimmermann, c. 1720

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 were 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".[69] Every week, the Collegium Musicum would give two-hour performances in winter at the Café Zimmermann, a coffeehouse on Catherine Street off the main market square; and during the summer months in the proprietor's outdoor coffee garden just outside the town walls, near the East Gate. The concerts, all free of charge, ended with Gottfried Zimmermann's death in 1741. Apart from showcasing his earlier orchestral repertoire, such as the Brandenburg Concertos and orchestral suites, many of Bach's newly composed or reworked pieces were performed for these venues, including parts of his Clavier-Übung (Keyboard Practice), his violin and keyboard concertos and the Coffee Cantata.[22][70]

#### Middle years of the Leipzig period (1730–1739)

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Bach's seal (centre), used throughout his Leipzig years. It contains the superimposed letters J S B in a mirror image topped with a crown. The flanking letters illustrate the arrangement on the seal.

In 1733, Bach composed a Kyrie–Gloria Mass in B minor 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.[71] 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 and partly original. Bach's appointment as Court Composer was an element 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 1735, Bach started preparing his first organ music publication, which was printed as the third Clavier-Übung in 1739.[72] From around that year he started to compile and compose the set of preludes and fugues for harpsichord that would become his second book of The Well-Tempered Clavier.[73] He received the title of "Royal Court Composer" from Augustus III in 1736.[71][12]

#### Final years and death (1740–1750)

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From 1740 to 1748 Bach copied, transcribed, expanded or programmed music in an older polyphonic style (stile antico) by, among others, Palestrina (BNB I/P/2),[74] Kerll (BWV 241),[75] Torri (BWV Anh. 30),[76] Bassani (BWV 1081),[77] Gasparini (Missa Canonica)[78] and Caldara (BWV 1082).[79] Bach's own style shifted in the last decade of his life, showing an increased integration of polyphonic structures and canons and other elements of the stile antico.[80] His fourth and last Clavier-Übung volume, the Goldberg Variations, for two-manual harpsichord, contained nine canons and was published in 1741.[81] Throughout this period, Bach also continued to adopt music of contemporaries such as Handel (BNB I/K/2)[82] and Stölzel (BWV 200),[83] and gave many of his own earlier compositions, such as the St Matthew and St John Passions and the Great Eighteen Chorale Preludes,[84] their final revisions. He also programmed and adapted music by composers of a younger generation, including Pergolesi (BWV 1083)[85] and his own students such as Goldberg (BNB I/G/2).[86]

In 1746 Bach was preparing to enter Lorenz Christoph Mizler's Society of Musical Sciences [de].[87] In order to be admitted Bach had to submit a composition, for which he chose his Canonic Variations on "Vom Himmel hoch da komm' ich her", and a portrait, which was painted by Elias Gottlob Haussmann and featured Bach's Canon triplex á 6 Voc.[88] In May 1747, Bach visited the court of King Frederick II of Prussia in Potsdam. The king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach obliged, playing a three-part fugue on one of Frederick's fortepianos by Gottfried Silbermann,[89] which was a new type of instrument at the time. Upon his return to Leipzig he composed a set of fugues and canons, and a trio sonata, based on the Thema Regium (theme of the king). Within a few weeks this music was published as The Musical Offering and dedicated to Frederick. The Schübler Chorales, a set of six chorale preludes transcribed from cantata movements Bach had composed some two decades earlier, were published within a year.[90][91] Around the same time, the set of five canonic variations which Bach had submitted when entering Mizler's society in 1747 were also printed.[92]

Two large-scale compositions occupied a central place in Bach's last years. From around 1742, he wrote and revised the various canons and fugues of The Art of Fugue, which he continued to prepare for publication until shortly before his death.[93][94] After extracting a cantata, BWV 191 from his 1733 Kyrie-Gloria Mass for the Dresden court in the mid-1740s, Bach expanded that setting into his Mass in B minor in the last years of his life. Although the complete mass was never performed during the composer's lifetime, it is considered among the greatest choral works in history.[95]

In January 1749, Bach's daughter Elisabeth Juliane Friederica married his pupil Johann Christoph Altnickol. Bach's health was declining. On 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Gottlob Harrer, fill the Thomaskantor and Director musices posts "upon the eventual ... decease of Mr. Bach".[96] Becoming blind, Bach underwent eye surgery, in March 1750 and again in April, by the British eye surgeon John Taylor, a man widely understood today as a charlatan and believed to have blinded hundreds of people.[97] Bach died on 28 July 1750 from complications due to the unsuccessful treatment.[98][99][100]

An inventory drawn up a few months after Bach's death shows that his 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 works by Martin Luther and Josephus.[101] The composer's son Carl Philipp Emanuel saw to it that The Art of Fugue, although still unfinished, was published in 1751.[102] Together with one of the composer's former students, Johann Friedrich Agricola, the son also wrote the obituary ("Nekrolog"), which was published in Mizler's Musikalische Bibliothek [de], a periodical journal produced by the Society of Musical Sciences, in 1754.[92]

## Musical style

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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).

See also: List of compositions by Johann Sebastian Bach

From an early age, Bach studied the works of his musical contemporaries of the Baroque period and those of prior generations, and those influences were reflected in his music.[103] Like his contemporaries Handel, Telemann and Vivaldi, Bach composed concertos, suites, recitatives, da capo arias, and four-part choral music and employed basso continuo. Bach's music was harmonically more innovative than his peer composers, employing surprisingly dissonant chords and progressions, often with extensive exploration of harmonic possibilities within one piece.[104]

The hundreds of sacred works Bach created are usually seen as manifesting not just his craft but also a truly devout relationship with God.[105][106] He had taught Luther's Small Catechism as the Thomaskantor in Leipzig, and some of his pieces represent it.[107] 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.[citation needed] 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 intervening centuries to be both musically thrilling and spiritually profound.[108]

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 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.[109]

### Four-part harmony

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"O Haupt voll Blut und Wunden": the four-part chorale setting as included in the St. Matthew Passion

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 are found not only in Bach's four-part choral music: he also prescribes it for instance for the figured bass accompaniment.[110] 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:

* When in the 1740s Bach staged his arrangement of Pergolesi's Stabat Mater, he upgraded the viola part (which in the original composition plays in unison with the bass part) to fill out the harmony, thus adapting the composition to his four-part harmony style.[111]
* When starting in the 19th century in Russia, there was a discussion about the authenticity of four-part court chant settings compared to earlier Russian traditions, Bach's four-part chorale settings, such as those ending his Chorale cantatas, were considered as foreign-influenced models. Such influence was deemed unavoidable, however.[112]

Chromatic Fantasia and Fugue BWV 903 performed by Kevin MacLeod

1\. Fantasia

* * *

2\. Fugue

Bach re-interpreting older genres tied to the modal system

Bach's insistence on the tonal system and contribution to shaping it 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, 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.

### Modulation

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Modulation, or 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 singers, according to an indictment he had to face in Arnstadt,[113] 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.[114] 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.[115]

The major development taking place in Bach's time, and to which he contributed in no small way, was a temperament for keyboard instruments that allowed their use in all available keys (12 major and 12 minor) and also modulation without retuning. His Capriccio on the departure of a beloved brother, a very early work, showed a gusto for modulation, unlike any contemporary work this composition has been compared to,[116] but the full expansion came with the Well-Tempered Clavier, using all keys, which Bach apparently had been developing since around 1720, the Klavierbüchlein für Wilhelm Friedemann Bach being one of its earliest examples.[117]

### Ornamentation

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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

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 but rather considered a liberty of the performer),[118] 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 explicit ornamentation, which some centuries later is played by oboists when performing the concerto.[119]

Although Bach did not write any operas, he was not averse to the genre or 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 reluctance to adopt such a style for liturgical music. For instance, Kuhnau, Bach's predecessor in Leipzig, had notoriously shunned opera and Italian virtuoso vocal music.[120] Bach was less moved. One of the comments after a performance of his St Matthew Passion was that it all sounded much like opera.[121]

### Continuo instruments solos

[edit]

In concerted playing in Bach's time, the basso continuo, consisting of instruments such as organ, viola da gamba or 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 a soloist) with the orchestra in instrumental cantata movements,[122] a decade before Handel published his first organ concertos.[123] 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,[124] and in his sonatas for viola da gamba and harpsichord neither instrument plays a continuo part: they are treated as equal soloists, far beyond the figured bass. In this sense, Bach played a key role in the development of genres such as the keyboard concerto.[125]

### Instrumentation

[edit]

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 and requiring the virtuosity of the player but without bravura.[126] 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 offered for it, yet Bach made an arrangement for lute of one of these suites. The same applies to 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 this, Bach left several 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.[127]

### Counterpoint

[edit]

Analysis of the counterpoint of the chorale prelude Herr Jesu Christ, dich zu uns wend', BWV 632 (Orgelbüchlein)

BWV 632 (extract) (0:48)

This video shows the intertwining of melodies and motives, including the melody of the chorale "Herr Jesu Christ, dich zu uns wend".

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

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

See also: List of fugal works by Johann Sebastian Bach

Another characteristic of Bach's style is his extensive use of counterpoint, as opposed to the homophony used in his four-part Chorale settings, for example. Bach's canons, and especially his fugues, are the most characteristic of this style, which he did not invent but contributed to so fundamentally 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.[128]

These strictly contrapuntal compositions, and most of Bach's music in general, are 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. Johann Nikolaus Forkel, Bach's first biographer, gives this description of this feature of Bach's music, which sets it apart from most other music:

> 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. Suppose more parts are interwoven in the same free and independent manner. In that case, 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 1720, when he was thirty-five until he died in 1750, Bach's harmony consists of 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 harmonious and agreeable.[129]

### Structure and lyrics

[edit]

Bach devoted more attention than his contemporaries to the structure of his compositions. This can be seen in minor adjustments he made when adapting someone else's composition, such as his earliest version of the "Keiser" St Mark Passion, where he enhances scene transitions,[130] and in the architecture of his own compositions such as his Magnificat[115] and Leipzig Passions. In the last years of his life, Bach revised several of his prior compositions. Often, recasting such previously composed music in an enhanced structure was the most visible change, as in 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 into symbolism-ridden hermeneutics.[131][132]

The librettos, or lyrics, of his vocal compositions played an essential role for Bach. He sought collaboration with various text authors for his cantatas and major vocal compositions, possibly writing or adapting such texts himself to make them fit the structure of the composition he was designing when he could not rely on the talents of other text authors. His collaboration with Picander for the St Matthew Passion libretto is best known. However, there was a similar process in achieving a multi-layered structure for his St John Passion libretto a few years earlier.[133]

## Compositions

[edit]

See also: List of compositions by Johann Sebastian Bach

In 1950, Wolfgang Schmieder published a thematic catalogue of Bach's compositions called the Bach-Werke-Verzeichnis (Bach Works Catalogue).[134] 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 1,080 surviving compositions indisputably composed by Bach.[135]

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 are 21st-century additions.[136][137][138]

### Passions and oratorios

[edit]

Bach's autograph of the recitative with the gospel text of Christ's death from St Matthew Passion (Matthew 27:45–47a)

See also: List of masses, passions and oratorios by Johann Sebastian Bach § 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.[139][140][141] Shorter oratorios include the Easter Oratorio and the Ascension Oratorio. With its double choir and orchestra, the St Matthew Passion is one of Bach's most extended works. The St John Passion was the first passion Bach composed during his tenure as Thomaskantor in Leipzig.

### Cantatas

[edit]

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"

* * *

2\. Recitative "Er kommt, er kommt, der Bräut'gam kommt"

* * *

3\. Duet "Wenn kömmst du, mein Heil?"

* * *

4\. Chorale "Zion hört die Wächter singen"

* * *

5\. Recitative "So geh herein zu mir"

* * *

6\. Duet "Mein Freund ist mein!"

* * *

7\. Chorale "Gloria sei dir gesungen"

Cantata text

See also: Bach cantata and List of Bach cantatas

According to his obituary, Bach would have composed five year-cycles of sacred cantatas and additional church cantatas for weddings and funerals.[92] Approximately 200 of these sacred works are extant, an estimated two-thirds of the total number of church cantatas he composed.[63][142] The Bach Digital website lists 50 known secular cantatas by the composer,[143] about half of which are extant or largely reconstructable.[144]

#### Church cantatas

[edit]

See also: Church cantata (Bach)

Bach's cantatas vary greatly in form and instrumentation. 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.[145]

Bach's earliest cantatas date from his years in Arnstadt and Mühlhausen. The earliest surviving work in the genre is Nach dir, Herr, verlanget mich, BWV 150. Overall, the extant early works show remarkable mastery and skill. Many feature an instrumental opening which displays effective use of the limited instrumental forces available to Bach, whether it be in the subdued combination of two recorders and two violas de gamba for BWV 106, or the independent bassoon in BWV 196. Bach's compositional skills also manifest through his daring harmonies and advanced, unprecedented chord progressions. According to Christoph Wolff, Bach's early cantatas are impressive evidence of how the modest means at his disposal did not restrain the composer in the slightest, and they compare favourably with compositions by the most talented composers from the beginning of the 18th century, such as Krieger, Kuhnau or Zachow.[146]

After taking up his office as Thomaskantor in late May 1723, Bach performed a cantata each Sunday and feast day, corresponding to the lectionary readings of the week.[22] 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 consists mainly of works in the chorale cantata format. His third cantata cycle was developed over 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)[147] and Wachet auf, ruft uns die Stimme, BWV 140.[148] 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.[22]

#### Secular cantatas

[edit]

See also: List of secular cantatas by Johann Sebastian Bach

Bach also wrote secular cantatas, for instance for members of the royal Polish and prince-electoral Saxonian families (e.g. Trauer-Ode),[149] or other public or private occasions (e.g. Hunting Cantata).[150] The text of these cantatas was occasionally in dialect (e.g. Peasant Cantata)[151] or Italian (e.g. Amore traditore).[152] Many of the secular cantatas were lost, but for some of them, the text and occasion are known. For instance, when Picander later published their librettos (e.g. BWV Anh. 11–12).[153]

Some of the surviving secular cantatas have a plot involving mythological figures of Greek antiquity (e.g. Der Streit zwischen Phoebus und Pan),[154] and others were almost miniature buffo operas (e.g. Coffee Cantata).[155] Although Bach never expressed any interest in opera,[156] his secular cantatas, or drammi per musica, would have allowed Leipzig audiences, deprived of opera since 1720, to experience musical performances comparable to the royal opera in Dresden. These were not "poor or makeshift substitutes for real opera" but spectacles displaying "full mastery of the dramatic genre and the proper pacing of the dialogues."[157]

### A cappella music

[edit]

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

#### Motets

[edit]

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.[158] The six motets definitely 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.[159]

#### Chorale harmonisations

[edit]

See also: List of chorale harmonisations by Johann Sebastian Bach

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

### Church music in Latin

[edit]

See also: Bach's church music in Latin

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

#### Magnificat

[edit]

See also: Magnificat (Bach)

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

[edit]

from Mass in B minor

Agnus Dei

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

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 1748–1749, he expanded this composition into the large-scale Mass in B minor. The work was never performed in full during Bach's lifetime.[160][161]

### Keyboard music

[edit]

Bach wrote for organ and for stringed keyboard instruments such as harpsichord, clavichord and lute-harpsichord.

#### Organ works

[edit]

Prelude and Fugue in A minor, BWV 543 performed by Robert Köbler on the Silbermann organ in the village church of Großhartmannsdorf, Saxony

Prelude

* * *

Fugue

See also: List of organ compositions by Johann Sebastian Bach

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).[22] At a young age, he established a reputation for creativity and the 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 (1708–1714), he composed about a dozen pairs of preludes and fugues, five toccatas and fugues, and the Orgelbüchlein or "Little Organ Book", an unfinished collection of 46 short chorale preludes that demonstrate 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 Organ Sonatas, the German Organ Mass in Clavier-Übung III from 1739, and the Great Eighteen Chorale Preludes, revised late in his life) were composed after leaving Weimar. Later in his life, Bach extensively consulted on organ projects, tested new organs, and dedicated playing organs to afternoon recitals.[162][163] 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 other stringed keyboard instruments

[edit]

The Art of Fugue (title page) – performed by Mehmet Okonsar on organ and harpsichord Nos. 1–12 Nos. 13–20

Prelude No. 1 in C major BWV 846 performed on harpsichord by Robert Schröter

Prelude No. 1 in C major BWV 846

Italian Concerto BWV 971 performed by Martha Goldstein

1st movement

* * *

2nd movement

* * *

3rd movement

See also: List of solo keyboard compositions by Johann Sebastian Bach

Bach wrote many works for harpsichord, some of which may also have been played on the clavichord or lute-harpsichord. Some of his more significant works, such as Clavier-Übung II and IV, are intended for a harpsichord with two manuals: performing them on a keyboard instrument with a single manual (like a piano) may present technical difficulties for the crossing of hands.

* The Well-Tempered Clavier, Books 1 and 2 (BWV 846–893). Each book consists of a prelude and fugue in each of the 24 major and minor keys, in chromatic order from C major to B minor (thus, the whole collection is often referred to as "the 48"). "Well-tempered" in the title refers to the temperament (system of tuning); many temperaments before Bach's time were not flexible enough to allow compositions to utilise more than just a few keys.[164][165]
* The Inventions and Sinfonias (BWV 772–801). These short two- and three-part contrapuntal works are arranged in the same chromatic order as The Well-Tempered Clavier, omitting certain rarer keys. Bach intended these pieces for instructional purposes.[166]
* Three collections of dance suites: the English Suites (BWV 806–811), French Suites (BWV 812–817), and Partitas for keyboard (Clavier-Übung I, BWV 825–830). Each collection contains six suites built on the standard model (allemande–courante–sarabande–(optional movement)–gigue). The English Suites closely follow the traditional model, adding a prelude before the allemande and including a single movement between the sarabande and gigue.[167] The French Suites omit preludes but have multiple movements between the sarabande and gigue.[168] The partitas expand the model further with elaborate introductory movements and miscellaneous movements between the basic elements of the model.[169]
* The Goldberg Variations (BWV 988), an aria with 30 variations. The collection has a complex and unconventional structure: the variations build on the bass line of the aria rather than its melody, and musical canons are interpolated according to a grand plan. There are nine canons within the 30 variations; every third variation is a canon.[170] These variations move in order from canon at unison to canon at the ninth. The first eight are in pairs (unison and octave, second and seventh, third and sixth, fourth and fifth). The ninth canon stands on its own due to compositional dissimilarities. The final variation, instead of being the expected canon at the tenth, is a quodlibet.
* Miscellaneous pieces such as the Overture in the French Style (French Overture, BWV 831) and the Italian Concerto (BWV 971) (published together as Clavier-Übung II), and the Chromatic Fantasia and Fugue (BWV 903).

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

[edit]

See also: List of chamber music works by Johann Sebastian Bach and List of orchestral works by Johann Sebastian Bach

Bach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as the six sonatas and partitas for violin (BWV 1001–1006) and the six cello suites (BWV 1007–1012), are widely considered to be among the most profound in the repertoire.[171][126] 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 or combinations of instruments.[172][173]

#### Violin concertos

[edit]

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

[edit]

Brandenburg Concerto No. 4 in G Major, BWV 1049

1\. Allegro

* * *

2\. Andante

* * *

3\. Presto

Further information: 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.[22] These works are examples of the concerto grosso genre.

#### Keyboard concertos

[edit]

Further information: 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 are now lost.[174] Several violin, oboe, and flute concertos have been reconstructed from these.

#### Orchestral suites

[edit]

Main article: Orchestral suites (Bach)

In addition to concertos, Bach wrote four orchestral suites, each suite being a series of stylised dances for orchestra, preceded by a French overture.[175]

### Copies, arrangements and uncertain attributions

[edit]

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 an 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.

See also: BWV Anh. and List of transcriptions of compositions by Johann Sebastian Bach

In his early youth, Bach copied pieces by other composers to learn from them.[176] Later, he copied and arranged music for performance or as study material for his pupils. Some of these pieces, like "Bist du bei mir" (copied not 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. He also often copied and arranged his own music (e.g. movements from cantatas for his short masses BWV 233–236), as his music was likewise copied and arranged by others. Some of these arrangements, like the late 19th-century "Air on the G String", helped to popularise Bach's music.

Sometimes, "who copied whom" is not clear. 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. Although a score partially in Bach's handwriting exists, the work was later considered spurious.[177] In 1950, the design 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 (German: Anhang, abbreviated as Anh.). Thus, for instance, the aforementioned Mass for double chorus became BWV Anh. 167. But this was far from the end of the attribution issues. For instance, Schlage doch, gewünschte Stunde, BWV 53, was later attributed to Melchior Hoffmann. For other works, Bach's authorship was put in doubt without a generally accepted answer to the question of 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.[178]

## Reception

[edit]

Main article: Reception of Johann Sebastian Bach's music

The church in Arnstadt where Bach had been the organist from 1703 to 1707. In 1935, the church was renamed "Bachkirche".

Throughout the 18th century, the appreciation of Bach's music was mostly limited to distinguished connoisseurs. The 19th century started with the publication of the first biography of the composer and ended with the completion and publication of all of Bach's known works by the Bach Gesellschaft. Starting with the Bach Revival, he began to be regarded as one of the greatest composers, a reputation he has maintained ever since. 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.

### 18th century

[edit]

Painting of Johann Sebastian Bach by 'Gebel', before 1798

In his own time, Bach was highly regarded amongst his colleagues.[179] However, his reputation outside of this small circle of connoisseurs was due not to his compositions (which had an extremely narrow circulation),[11] but due to his virtuosic abilities. Nevertheless, 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 Hermann Karl von Keyserling. Such highly placed appreciation contrasted with the humiliations he had to cope with, for instance, in Leipzig.[180] 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.[181][182][183]

After his death, Bach's reputation as a composer initially declined: his work was regarded as old-fashioned compared to the emerging galant style.[184] He was remembered more as a virtuoso organ player and a teacher. The bulk of the music that had been printed during the composer's lifetime, at least the remembered parts, was for the organ and the harpsichord. Thus, his reputation as a composer was initially mostly limited to his keyboard music, which was relatively limited in its value to 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.[185] 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,[186] staged some of his works, and the bulk of previously unpublished works of his father were preserved with his help.[187] 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.[188][189][190] 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 were not all musicians; for example, in Berlin, Daniel Itzig, a high official of Frederick the Great's court, venerated Bach.[191] His eldest daughters took lessons from Kirnberger and their sister Sara from Wilhelm Friedemann Bach, who was in Berlin from 1774 to 1784.[191][192] Sara Itzig Levy became an avid collector of works by Johann Sebastian Bach and his sons and was a "patron" of CPE Bach.[192]

While in Leipzig, performances of Bach's church music were limited to some of his motets, and under cantor Doles some of his Passions.[193] 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-ranking Austrian official who was instrumental in passing Bach's legacy on 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,[194] transcribed some of his instrumental works (K. 404a, 405),[195][196] and wrote contrapuntal music influenced by his style.[197][198] Beethoven played the entire Well-Tempered Clavier by the time he was 11 and described Bach as Urvater der Harmonie (progenitor of harmony).[199][200][201][202][203]

### 19th century

[edit]

See also: Bach Revival and St Matthew Passion § 19th century

Image of the Bach memorial [de] erected by Felix Mendelssohn in Leipzig in 1843

In 1802, Johann Nikolaus Forkel published Johann Sebastian Bach: His Life, Art, and Work, the first Bach biography, dedicated to van Swieten.[204] 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 it to the Berlin Sing-Akademie.[191] The Sing-Akademie occasionally performed Bach's works in public concerts, for instance, his first keyboard concerto, with Sara Itzig Levy at the piano.[191]

The first decades of the 19th century saw an increasing number of first publications of Bach's music: Breitkopf started publishing chorale preludes,[205] Hoffmeister harpsichord music,[206] and the Well-Tempered Clavier was printed concurrently by Simrock (Germany), Nägeli (Switzerland) and Hoffmeister (Germany and Austria) in 1801.[207] Vocal music was also published: 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).[208] In 1818, Hans Georg Nägeli called the Mass in B minor the greatest composition ever.[199] Bach's influence was felt in the next generation of early Romantic composers.[200] When Abraham's son Felix, aged 13, produced his first Magnificat setting in 1822, it is clear that he had been inspired by the then-unpublished D major version of Bach's Magnificat.[209]

Felix Mendelssohn's 1829 performance of the St Matthew Passion precipitated the Bach Revival. The St John Passion saw its 19th-century premiere in 1833, and the first public performance of the Mass in B minor followed in 1844. Besides these and other public performances and increased coverage of the composer and his compositions in printed media, the 1830s and 1840s 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.[210] 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 tastes 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".[199][211] Brahms, Bruckner, and Wagner were among the composers who 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. In 1854, Bach was deemed one of the three Bs by Peter Cornelius, the other Bs being Beethoven and Berlioz. (Hans von Bülow replaced Berlioz with Brahms.) From 1873 to 1880, Philipp Spitta published Johann Sebastian Bach, the standard work on Bach's life and music.[212] Throughout the 19th century, 200 books were published on Bach. By the end of the century, local Bach societies were established in several cities, and his music had been performed in all major musical centres.[199]

In Germany throughout the century, Bach was coupled to nationalist feelings, and the composer was inscribed in a religious revival. In England, Bach was coupled with a 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.[199]

### 20th century

[edit]

1908 Statue of Bach in front of the Thomaskirche in Leipzig 28 July 1950: memorial service for Bach in Leipzig's Thomaskirche, on the 200th anniversary of the composer's death

During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, as in the promotion of the cello suites by Pablo Casals, the first major performer to record these suites.[213] Leading performers of classical music such as Willem Mengelberg, Edwin Fischer, Georges Enescu, Herbert von Karajan, Helmut Walcha, Wanda Landowska, I Musici, Dietrich Fischer-Dieskau, and recorded his music.[n 3]

A significant development in the later part of the 20th century was the historically informed performance practice, with forerunners such as Nikolaus Harnoncourt acquiring prominence through their performances of Bach's music. His keyboard music was again performed on the harpsichord and other Baroque instruments rather than 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 his day but were also reduced to the size of the groups Bach used for his performances.[214] 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 to the orchestrations of Leopold Stokowski, whose interpretation of the Toccata and Fugue in D minor opened Walt Disney's Fantasia, to jazzy interpretations such as those by The Swingle Singers on their album Jazz Sebastian Bach and electronic performances such as Wendy Carlos' Switched-On Bach and The Well-Tempered Synthesizer.

Bach's music has influenced other genres. 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 his works.[215] Several 20th-century composers referred to Bach or his music, for example Eugène Ysaÿe in Six Sonatas for solo violin, Dmitri Shostakovich in 24 Preludes and Fugues and Heitor Villa-Lobos in Bachianas Brasileiras. All kinds of publications involved Bach: not only were there the Bach Jahrbuch publications of the Neue Bachgesellschaft, but various other biographies and studies by, among others Albert Schweitzer, Charles Sanford Terry, Alfred Dürr, Christoph Wolff. Peter Williams, John Butt,[n 4] 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.[216] Around 2000, the 250th anniversary of Bach's death, three record companies issued box sets with complete recordings of Bach's music.[217][218][219]

Three works by Bach are featured on the Voyager Golden Record, a gramophone record containing a broad sample of the images, sounds, languages, and music of Earth, sent into space with the two Voyager probes. The Bach pieces included are the First Movement of the Brandenburg Concerto No. 2 (conducted by Karl Richter), the "Gavotte en rondeaux" from the Partita for Violin No. 3 (played by Arthur Grumiaux) and the Prelude and Fugue in C, No. 1 from The Well-Tempered Clavier (played by Glenn Gould).[220] 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.[221][222] Also, a multitude of musical ensembles such as the Bach Aria Group, Deutsche Bachsolisten, Bachchor Stuttgart, and Bach Collegium Japan adopted the composer's name. Bach festivals were held on 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. While 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).[199][216]

### 21st century

[edit]

In the 21st century, Bach's compositions have become available online, for instance at the International Music Score Library Project.[223] High-resolution facsimiles of Bach's autographs became available at the Bach Digital website.[224] 21st-century biographers include Christoph Wolff, Peter Williams and John Eliot Gardiner.[n 5]

In 2015, Bach's handwritten personal copy of the Mass in B minor, held by the Berlin State Library, was added to UNESCO's Memory of the World Register,[225] a program intended to protect culturally significant manuscripts.

Alex Ross writes that "Bach became an absolute master of his art by never ceasing to be a student of it. His most exalted sacred works—the two extant Passions, from the seventeen-twenties, and the Mass in B Minor, completed not long before his death in 1750—are feats of synthesis, mobilising secular devices to spiritual ends. They are rooted in archaic chants, hymns, and chorales. They honour, with consummate skill, the scholastic discipline of canon and fugue. They make expert use of the word-painting techniques of the Renaissance madrigal and Baroque opera. They absorb such stock scenes as the lament, the pastoral, the lullaby, the rage aria, the tempest. They allude to courtly French dances, Italian love songs, [and] the polonaise. Their furious development of brief motifs anticipates Beethoven, who worshipped Bach when he was young. And their most daring harmonic adventures—for example, the otherworldly modulations in the 'Confiteor' of the B-Minor Mass—look ahead to Wagner, even to Schoenberg."[226]

In 2019, Bach was named the greatest composer of all time in a poll conducted among 174 living composers.[227]

The liturgical calendar of the Episcopal Church remembers Bach annually with a feast day on 28 July;[228] on the same day, the Calendar of Saints of some Lutheran churches, such as the ELCA, remembers Bach and Handel with Heinrich Schütz.[229]

### Burial site

[edit]

Bach 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.[22] Later research has called into question whether the remains in the grave are actually those of Bach.[230]

## See also

[edit]

* Portraits of Johann Sebastian Bach

## References

[edit]

### Notes

[edit]

1. ^ a b German: [ˈjoːhan zeˈbasti̯a(ː)n ˈbax] ⓘ. The surname appears in English as /bɑːx/ BAHKH on Lexico[5] and in Dictionary.com.[6]
2. ^ Johann Sebastian Bach drafted a genealogy around 1735, titled "Origin of the musical Bach family", printed in translation in David, Mendel & Wolff 1998, p. 283.
3. ^ For more information, please click the articles on performers; see also reviews and listings in Gramophone, Diapason, YouTube, Discogs and Muziekweb.
4. ^ See
* Schweitzer 1911 (1905 and 1908 editions)
* Terry 1928
* Dürr 1981
* Dürr & Jones 2006 (English translation)
* Wolff 1991
* Wolff 2000
* Williams 1980
* Butt 1997
5. ^ See
* Wolff 2000
* Williams 2003a
* Williams 2007
* Williams 2016
* Gardiner 2013

### Citations

[edit]

1. ^ Wolff & Emery 2001, "10. Iconography".
2. ^ Crist & Stauff 2011.
3. ^ Marshall, Robert L.; Emery, Walter (18 May 2020). "Johann Sebastian Bach | Biography, Music, Death & Facts". Chicago: Encyclopædia Britannica. Retrieved 16 June 2021.
4. ^ Blanning, T. C. W. (2008). The Triumph of Music: The Rise of Composers, Musicians and Their Art. Cambridge, Massachusetts: Belknap Press of Harvard University Press. p. 272. ISBN 978-0-674-03104-3. "And of course the greatest master of harmony and counterpoint of all time was Johann Sebastian Bach, 'the Homer of music'."
5. ^ "Bach, Johann Sebastian". Lexico. Archived from the original on 11 May 2016. Retrieved 3 May 2016.
6. ^ "Bach". Dictionary.com. Archived from the original on 26 March 2019. Retrieved 3 May 2016.
7. ^ Jones 2007, p. 3.
8. ^ Geck 2003, pp. 2, 156.
9. ^ Boyd 2000, p. 6.
10. ^ a b Wolff et al. 2018, II. List of all family members alphabetically by first name.
11. ^ a b c Wolff & Emery 2001.
12. ^ a b Miles 1962, pp. 86–87.
13. ^ Boyd 2000, pp. 7–8.
14. ^ David, Mendel & Wolff 1998, p. 299.
15. ^ Wolff 2000, p. 45.
16. ^ Wolff 2000, pp. 19, 46.
17. ^ Wolff 2000, p. 73.
18. ^ Wolff 2000, p. 170.
19. ^ Spitta 1899a, pp. 186–187.
20. ^ Wolff 2000, pp. 41–43.
21. ^ a b Eidam 2001, Ch. I
22. ^ a b c d e f g h i j "Johann Sebastian Bach: a detailed informative biography". The Baroque Music Site. Archived from the original on 20 February 2012. Retrieved 19 February 2012.
23. ^ Wolff 2000, pp. 55–56.
24. ^ Rich 1995, p. 27.
25. ^ Boyd 2000, pp. 15–16.
26. ^ Chiapusso 1968, p. 62.
27. ^ Williams 2003a, p. 40.
28. ^ Wolff 2000, pp. 83ff
29. ^ Snyder, Kerala J. (2007). Dieterich Buxtehude: Organist in Lübeck (2nd ed.). University Rochester Press. pp. 104–106. ISBN 978-1-58046-253-2. Archived from the original on 28 September 2015.
30. ^ Sojourn: Jan Adams Reincken Archived 22 May 2006 at the Wayback Machine, by Timothy A. Smith
31. ^ a b Wolff 2000, pp. 102–104
32. ^ Williams 2003a, p. 38–39.
33. ^ Bach Digital Work 00005 at www.bach-digital.de
34. ^ "History of the Bach House". Bach House Weimar. Archived from the original on 26 November 2015. Retrieved 10 August 2015.
35. ^ Forkel 1920, Table VII, p. 309.
36. ^ Thornburgh, Elaine. "Baroque Music – Part One". Music in Our World. San Diego State University. Archived from the original on 5 September 2015. Retrieved 24 December 2014.
37. ^ Chiapusso 1968, p. 168.
38. ^ Schweitzer 1923, p. 331.
39. ^ Koster, Jan. "Weimar (II) 1708–1717". J. S. Bach Archive and Bibliography. Archived from the original on 28 March 2014. Retrieved 11 April 2014.
40. ^ a b Sadie, Julie Anne, ed. (1998). Companion to Baroque Music. University of California Press. p. 205\. ISBN 978-0-520-21414-9. Archived from the original on 14 May 2015.
41. ^ Wolff 2000, pp. 147, 156.
42. ^ a b Wolff 1991, p. 30
43. ^ Gardiner, John Eliot (2010). "Cantatas for Christmas Day: Herderkirche, Weimar" (PDF). pp. 1–2. Archived (PDF) from the original on 24 September 2015. Retrieved 27 December 2014.
44. ^ Wolff, Christoph (1996). "From konzertmeister to thomaskantor: Bach's cantata production 1713–1723" (PDF). pp. 15–16. Archived (PDF) from the original on 24 September 2015. Retrieved 27 December 2014.
45. ^ David, Mendel & Wolff 1998, p. 80.
46. ^ Miles 1962, p. 57.
47. ^ Boyd 2000, p. 74.
48. ^ Van Til 2007, pp. 69, 372.
49. ^ Dent 2004, p. 23.
50. ^ Spaeth 1937, p. 37.
51. ^ Spitta 1899b, p. 11.
52. ^ Geiringer 1966, p. 50.
53. ^ Wolff 1983, pp. 98, 111.
54. ^ Spitta 1899b, pp. 192–193.
55. ^ a b Wolff 2013, p. 253
56. ^ Wolff 2013, p. 345.
57. ^ Spitta 1899b, p. 265.
58. ^ Spitta 1899b, p. 184.
59. ^ "Johann Sebastian Bach (1685–1750)". British Library: Online Gallery. Archived from the original on 29 January 2016. Retrieved 16 June 2021.
60. ^ Wolff 2013, p. 348.
61. ^ Wolff 2013, p. 349.
62. ^ Dürr & Jones 2006, p. 384.
63. ^ a b Wolff 1997, p. 5
64. ^ "Motets BWV 225–231". Bach Cantatas Website. Archived from the original on 24 February 2015. Retrieved 31 December 2014.
65. ^ "Works of Other Composers performed by J.S. Bach". Bach Cantatas Website. Archived from the original on 17 July 2014. Retrieved 31 December 2014.
66. ^ Boyd 2000, pp. 112–113.
67. ^ Spitta 1899b, pp. 288–290.
68. ^ Spitta 1899b, pp. 281, 287.
69. ^ Wolff 2000, p. 341.
70. ^ Stauffer 2008
71. ^ a b "Bach Mass in B Minor BWV 232". The Baroque Music Site. Archived from the original on 7 March 2012. Retrieved 21 February 2012.
72. ^ US-PRu M 3.1. B2 C5. 1739q Archived 11 September 2017 at the Wayback Machine at Bach Digital website
73. ^ GB-Lbl Add. MS. 35021 Archived 11 September 2017 at the Wayback Machine at Bach Digital website
74. ^ D-B Mus. ms. 16714 Archived 11 September 2017 at the Wayback Machine at Bach Digital website
75. ^ D-Cv A.V,1109,(1), 1a Archived 18 November 2016 at the Wayback Machine and 1b Archived 18 November 2016 at the Wayback Machine at Bach Digital website
76. ^ D-B Mus. ms. Bach P 195 Archived 18 November 2016 at the Wayback Machine at Bach Digital website
77. ^ D-B Mus. ms. 1160 Archived 4 March 2016 at the Wayback Machine at Bach Digital website
78. ^ D-WFe 191 Archived 11 September 2017 at the Wayback Machine at Bach Digital website (RISM 250000899)
79. ^ D-Bsa SA 301, Fascicle 1 Archived 18 November 2016 at the Wayback Machine and Fascicle 2 Archived 18 November 2016 at the Wayback Machine at Bach Digital website
80. ^ Neuaufgefundenes Bach-Autograph in Weißenfels Archived 11 September 2017 at the Wayback Machine at lisa.gerda-henkel-stiftung.de
81. ^ F-Pn Ms. 17669 Archived 11 September 2017 at the Wayback Machine at Bach Digital website
82. ^ D-B N. Mus. ms. 468 Archived 11 September 2017 at the Wayback Machine and Privatbesitz C. Thiele, BWV deest (NBA Serie II:5) Archived 11 September 2017 at the Wayback Machine at Bach Digital website
83. ^ D-B N. Mus. ms. 307 Archived 8 December 2015 at the Wayback Machine at Bach Digital website
84. ^ D-B Mus. ms. Bach P 271, Fascicle 2 Archived 11 September 2017 at the Wayback Machine at Bach Digital website
85. ^ D-B Mus. ms. 30199, Fascicle 14 Archived 11 September 2017 at the Wayback Machine and D-B Mus. ms. 17155/16 Archived 11 September 2017 at the Wayback Machine at Bach Digital website
86. ^ D-B Mus. ms. 7918 Archived 11 September 2017 at the Wayback Machine at Bach Digital website
87. ^ Musikalische Bibliothek, III.2 [1746], 353 Archived 16 January 2013 at the Wayback Machine, Felbick 2012, 284. In 1746, Mizler announced the membership of three famous members, Musikalische Bibliothek, III.2 [1746], 357 Archived 16 January 2013 at the Wayback Machine.
88. ^ 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 and Hans-Eberhard Dentler: Briefe von Lorenz Mizler und Zeitgenossen an Meinrad Spieß, in: Studi musicali 2003, Nr. 32, 115.
89. ^ David, Mendel & Wolff 1998, p. 224.
90. ^ US-PRscheide BWV 645–650 Archived 11 September 2017 at the Wayback Machine (original print of the Schübler Chorales with Bach's handwritten corrections and additions from before August 1748 – description at Bach Digital website)
91. ^ Breig, Werner (2010). "Introduction Archived 22 February 2018 at the Wayback Machine" (pp. 14, 17–18) in Vol. 6: Clavierübung III, Schübler-Chorales, Canonische Veränderungen Archived 11 September 2017 at the Wayback Machine of Johann Sebastian Bach: Complete Organ Works. Archived 5 September 2015 at the Wayback Machine Breitkopf.
92. ^ a b c Bach, Carl Philipp Emanuel; Agricola, Johann Friedrich (1754). "Nekrolog". Musikalische Bibliothek [de] (in German). IV.1. Leipzig: Mizlerischer Bücherverlag: 158–173.+[de]&rft.atitle=Nekrolog&rft.volume=IV.1&rft.pages=158-173&rft.date=1754&rft.aulast=Bach&rft.aufirst=Carl+Philipp+Emanuel&rft.au=Agricola,+Johann+Friedrich&rfr_id=info:sid/en.wikipedia.org:Johann+Sebastian+Bach" class="Z3988"> Printed in translation in David, Mendel & Wolff 1998, p. 299.
93. ^ 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.
94. ^ Chiapusso 1968, p. 277.
95. ^ 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. Archived (PDF) from the original on 15 July 2014.
96. ^ Wolff 2000, p. 442, from David, Mendel & Wolff 1998
97. ^ 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. ISSN 0003-9950. PMID 16219736.
98. ^ Hanford, Jan. "J.S. Bach: Timeline of His Life". J.S. Bach Home Page. Archived from the original on 26 February 2012. Retrieved 8 March 2012.
99. ^ David, Mendel & Wolff 1998, p. 188.
100. ^ Spitta 1899c, p. 274.
101. ^ David, Mendel & Wolff 1998, pp. 191–197.
102. ^ "Did Bach really leave Art of Fugue unfinished?". The Art of Fugue. American Public Media. Archived from the original on 8 December 2013. Retrieved 28 March 2014.
103. ^ Wolff 2000, p. 166.
104. ^ "Johann Sebastian Bach (1685–1750)". British Library. Archived from the original on 2 August 2020. Retrieved 23 June 2021.
105. ^ Herl 2004, p. 123.
106. ^ Fuller Maitland, J. A., ed. (1911). "Johann Sebastian Bach". Grove's Dictionary of Music and Musicians. Vol. 1\. New York: Macmillan Publishers. p. 154.
107. ^ Leaver 2007, pp. 280, 289–291.
108. ^ Huizenga, Tom. "A Visitor's Guide to the St. Matthew Passion". NPR Music. National Public Radio. Archived from the original on 27 February 2012. Retrieved 25 February 2012.
109. ^ 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.
110. ^ Spitta 1899c, vol. 3, appendix XII, p. 315.
111. ^ 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" Archived 22 November 2015 at the Wayback Machine p. 54)
112. ^ Jopi Harri. St. Petersburg Court Chant and the Tradition of Eastern Slavic Church Singing. Archived 20 February 2016 at the Wayback Machine Finland: University of Turku (2011), p. 24
113. ^ Eidam 2001, Ch. IV.
114. ^ Eidam 2001, Ch. IX.
115. ^ a b Marshall, Robert L. (1989). Franklin, Don O. (ed.). On the Origin of Bach's Magnificat: a Lutheran composer's challenge. Vol. Bach Studies. Cambridge: Cambridge University Press. pp. 3–17. ISBN 978-0-521-34105-9. Archived from the original on 29 April 2016.
116. ^ Eidam 2001, Ch. III.
117. ^ Klavierbüchlein für W. F. Bach Archived 18 November 2015 at the Wayback Machine at www.bachdigital.de
118. ^ Donington 1982, p. 91.
119. ^ "Concerto in d minor". Netherlands Bach Society.
120. ^ Kuhnau, Johann (1700), Der musicalische Quack-Salber, Dresden
121. ^ Eidam 2001, Ch. XVIII.
122. ^ 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.
123. ^ George Frideric Handel. 6 Organ Concertos, Op. 4 at IMSLP website
124. ^ Peter Wollny, "Harpsichord Concertos," Archived 22 September 2015 at the Wayback Machine booklet notes for Andreas Staier's 2015 recording of the concertos, Harmonia mundi HMC 902181.82
125. ^ Schulenberg 2006, pp. 1–2.
126. ^ a b Lester 1999, pp. 3–24
127. ^ "Did Bach intend Art of Fugue to be performed?". The Art of Fugue. American Public Media. Archived from the original on 3 December 2013. Retrieved 28 March 2014.
128. ^ Eidam 2001, Ch. XXX.
129. ^ Forkel 1920, pp. 73–74.
130. ^ Bach Digital Work 01677 at www.bachdigital.de
131. ^ Williams 1980, p. 217
132. ^ Basso, Alberto (1979). Frau Musika: La vita e le opere di J. S. Bach (in Italian). Vol. 1\. Turin: EDT. p. 493\. ISBN 978-88-7063-011-4.
133. ^ Don O. Franklin. "The Libretto of Bach's John Passion and the Doctrine of Reconciliation: An Historical Perspective", pp. 179–203 Archived 31 January 2016 at the Wayback Machine in Proceedings of the Royal Netherlands Academy of Arts and Sciences Vol. 143 edited by A. A. Clement, 1995.
134. ^ "Bach Works Catalogue". Bach Digital. Archived from the original on 30 September 2015. Retrieved 29 September 2015.
135. ^ Wolfgang Schmieder (editor). Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach. Leipzig: Breitkopf & Härtel, 1950. It was unaltered through its eighth printing in 1986.
136. ^ Schmieder, Wolfgang; Alfred, Dürr; Kobayashi, Yoshitake, eds. (1998). Bach-Werke-Verzeichnis: Kleine Ausgabe (BWV2a) (in German). Wiesbaden: Breitkopf & Härtel. ISBN 978-3-7651-0249-3. Archived from the original on 31 October 2016.
137. ^ Bach Digital Work 01307
138. ^ Joel H. Kuznik. "BWV 1128: A recently discovered Bach organ work" pp. 22–23 in The Diapason, Vol. 99 No. 22. December 2008. (archived 21 July 2011)
139. ^ Leaver 2007, p. 430.
140. ^ Williams 2003a, p. 114.
141. ^ Traupman-Carr, Carol. "The Christmas Oratorio, BWV 248". Bach 101. Bach Choir of Bethlehem. Archived from the original on 7 April 2014. Retrieved 29 March 2014.
142. ^ 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.
143. ^ 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 00039)
2. BWV 36a (BDW 00049)
3. BWV 36b (BDW 00050)
4. BWV 36c (BDW 00051)
5. BWV 66a (BDW 00083)
6. BWV 134a (BDW 00166)
7. BWV 173a (BDW 00211)
8. BWV 184a (BDW 00223)
9. BWV 193a (BDW 00235)
10. BWV 194a (BDW 00239)
11. BWV 198 (BDW 00246)
12. BWV 201 (BDW 00251)
13. BWV 202 (BDW 00252)
14. BWV 203 (BDW 00253)
15. BWV 204 (BDW 00254)
16. BWV 205 (BDW 00255)
17. BWV 205a (BDW 00256)
18. BWV 206, first version (BDW 00257)
19. BWV 206, second version (BDW 00258)
20. BWV 207 (BDW 00259)
21. BWV 207a (BDW 00260)
22. BWV 208, first version (BDW 00261)
23. BWV 208, second version (BDW 00262)
24. BWV 208a (BDW 00263)
25. BWV 209 (BDW 00264)
26. BWV 210 (BDW 00265)
27. BWV 210a (BDW 00266)
28. BWV 211 (BDW 00267)
29. BWV 212 (BDW 00268)
30. BWV 213 (BDW 00269)
31. BWV 214 (BDW 00270)
32. BWV 215 (BDW 00271)
33. BWV 216 (BDW 00272)
34. BWV 216a (BDW 00273)
35. BWV 249a (BDW 00318)
36. BWV 249b (BDW 00319)
37. BWV Anh. 6 (BDW 01314)
38. BWV Anh. 7 (BDW 01315)
39. BWV Anh. 8 (BDW 01316)
40. BWV Anh. 9 (BDW 01317)
41. BWV Anh. 10 (BDW 01318)
42. BWV Anh. 11 (BDW 01319)
43. BWV Anh. 12 (BDW 01320)
44. BWV Anh. 13 (BDW 01321)
45. BWV Anh. 18 (BDW 01326)
46. BWV Anh. 19 (BDW 01327)
47. BWV Anh. 20 (BDW 01328)
48. BWV Anh. 195 (BDW 01506)
49. BWV Anh. 196 (BDW 01507)
50. BWV deest (BDW 01536)

144. ^ For instance, Helmut Rilling's box set of the complete secular cantatas Archived 19 August 2016 at the Wayback Machine contains 22 works
145. ^ "J. S. Bach: His Works | Music Appreciation". courses.lumenlearning.com. Retrieved 15 May 2023.
146. ^ Wolff 2000, pp. 100–101.
147. ^ "Especially in its opening chorus, it is one of Bach's contrapuntal masterpieces": Robin A. Leaver in Boyd 1999.
148. ^ "one of Bach's best-known church works" wrote David Schulenberg in Boyd 1999.
149. ^ Bach Digital Work 00246 at www.bachdigital.de
150. ^ Bach Digital Work 00261, 00262 at www.bachdigital.de
151. ^ Bach Digital Work 00268 at www.bachdigital.de
152. ^ Bach Digital Work 00253 at www.bachdigital.de
153. ^ Bach Digital Work 01319, 01320 at www.bachdigital.de
154. ^ Bach Digital Work 00251 at www.bachdigital.de
155. ^ Traupman-Carr, Carol. "Cantata BWV 211, Coffee Cantata". Bach 101. Bach Choir of Bethlehem. Archived from the original on 27 April 2015. Retrieved 31 March 2014.
156. ^ Wolff 2000, p. 65
157. ^ Wolff 2000, p. 363.
158. ^ Traupman-Carr, Carol. "Choral Works". Bach 101. Bach Choir of Bethlehem. Archived from the original on 30 March 2014. Retrieved 31 March 2014.
159. ^ Melamed, Daniel R. (1995). J. S. Bach and the German Motet. Cambridge University Press. pp. 90–94. ISBN 978-0-521-41864-5. Archived from the original on 15 May 2015.
160. ^ "The Mass in B Minor, BWV 232". Bach 101. Bach Choir of Bethlehem. Archived from the original on 30 March 2014. Retrieved 29 March 2014.
161. ^ Herz 1985, p. 187.
162. ^ "Bach, Johann Sebastian". GMN ClassicalPlus. Archived from the original on 19 June 2008. Retrieved 19 May 2008.
163. ^ Smith, Timothy A. "Arnstadt (1703–1707)". The Canons and Fugues of J. S. Bach. Archived from the original on 5 February 2014. Retrieved 11 April 2014.
164. ^ Schweitzer 1923, p. 333.
165. ^ Kroesbergen, Willem; Cruickshank, Andrew (October 2015) [November 2013]. "18th Century Quotations Relating to J. S. Bach's Temperament" (2nd ed.). Academia.edu.
166. ^ Tomita, Yo. "J. S. Bach: Inventions and Sinfonias". Archived from the original on 20 January 2012. Retrieved 22 February 2012.
167. ^ McComb, Todd M. "Bach: English Suites". Early Music FAQ. Archived from the original on 27 February 2014. Retrieved 10 December 2014.
168. ^ 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.
169. ^ McComb, Todd M. "Bach: Partitas, BWV 825–30". Early Music FAQ. Archived from the original on 22 February 2014. Retrieved 10 December 2014.
170. ^ Libbey, Ted. "Gold Standard for Bach's 'Goldberg Variations'". NPR Music. National Public Radio. Archived from the original on 19 February 2012. Retrieved 22 February 2012.
171. ^ Bratman, David. "Shaham: Bold, Brilliant, All-Bach". San Francisco Classical Voice. Archived from the original on 11 February 2012. Retrieved 23 February 2012.
172. ^ Wolff 1991, p. 111.
173. ^ Schwarm, Betsy (19 April 2019). "The Art of Fugue | History, Description & Facts | Britannica". Encyclopædia Britannica. Chicago: Encyclopædia Britannica, Inc. Retrieved 22 August 2021.
174. ^ "Baroque Music". Music of the Baroque. Archived from the original on 27 December 2014. Retrieved 27 December 2014.
175. ^ 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.
176. ^ Forkel 1920, pp. 10–11.
177. ^ Forkel 1920, pp. 140–141.
178. ^ Zehnder, Jean-Claude (2011) Toccatas and Fugues / Individual Works. Archived 23 November 2015 at the Wayback Machine Leipzig, Breitkopf & Härtel. Introduction p. 20.
179. ^ Geck 2003, p. 141.
180. ^ 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, 1945, p. 128; Quoted in David, Mendel & Wolff 1998, p. 158.
181. ^ Johann Adolf Scheibe. pp. 46–47 in Critischer Musicus VI, 14 May 1737. Quoted in Eidam 2001, Ch. XXII.
182. ^ Johann Mattheson. Das Beschützte Orchestre, oder desselben Zweyte Eröffnung, footnote p. 222 Hamburg: Schiller, 1717.
183. ^ 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. Archived 1 February 2014 at the Wayback Machine published early January of the same year.
184. ^ Bach was regarded as "passé even in his own lifetime". (Morris 2005, p. 2)
185. ^ Wolff 2000, pp. 456–461.
186. ^ Forkel 1920, pp. 85–86.
187. ^ Listing of manuscripts of Bach compositions once in the possession of C. P. E. Bach[permanent dead link] at www.bach-digital.de
188. ^ 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 978-0-521-02891-2
189. ^ Forkel 1920, p. 139.
190. ^ Wolff 2013, p. 459.
191. ^ a b c d Christoph Wolff. "A Bach Cult in Late-Eighteenth-Century Berlin: Sara Levy's Musical Salon" Archived 4 March 2016 at the Wayback Machine in Bulletin of the American Academy. Spring 2005. pp. 26–31.
192. ^ a b Applegate 2005, p. 14
193. ^ Spitta 1899b, p. 518–519, 611.
194. ^ A-Wgm A 169 b (III 31685) Archived 8 December 2015 at the Wayback Machine at www.bachdigital.de
195. ^ Preludes and Fugues, K.404a: Scores at the International Music Score Library Project
196. ^ 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 29 April 2016., No. 405, pp. 328–329
197. ^ "Bach, Mozart and the 'Musical Midwife'". Archived from the original on 4 November 2015.
198. ^ Brown, A. Peter, The Symphonic Repertoire (Volume 2). Indiana University Press (ISBN 978-0-253-33487-9), pp. 423–432 (2002).
199. ^ a b c d e f McKay, Cory. "The Bach Reception in the 18th and 19th century" Archived 2 February 2010 at the Wayback Machine at www.music.mcgill.ca
200. ^ a b Schenk, Winston & Winston 1959, p. 452
201. ^ Daniel Heartz. Mozart, Haydn and Early Beethoven: 1781–1802, p. 678. W. W. Norton, 2008. ISBN 978-0-393-28578-9
202. ^ Kerst 1904, p. 101.
203. ^ Edward Noel Green. Chromatic Completion in the Late Vocal Music of Haydn and Mozart: A Technical, Philosophic, and Historical Study, p. 273[permanent dead link] New York University. ISBN 978-0-549-79451-6
204. ^ Geck 2006, pp. 9–10.
205. ^ Schneider 1907, p. 94.
206. ^ Schneider 1907, pp. 96–97.
207. ^ Schneider 1907, p. 100.
208. ^ Forkel 1920, p. xvii.
209. ^ Felix Mendelssohn Bartholdy. Magnificat, MWV A2 edited by Pietro Zappalà. Carus, 1996. Foreword, p. VI
210. ^ 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
211. ^ Kupferberg 1985, p. 126.
212. ^ Spitta 1899a, 1899b, 1899c (first publication in German, in two volumes: Leipzig, Breitkopf & Härtel 1873 and 1880)
213. ^ "Robert Johnson and Pablo Casals' Game Changers Turn 70". NPR Music. National Public Radio. Archived from the original on 24 February 2012. Retrieved 22 February 2012.
214. ^ McComb, Todd M. "What is Early Music?–Historically Informed Performance". Early Music FAQ. Archived from the original on 6 January 2015. Retrieved 2 January 2015.
215. ^ Shipton, Alyn. "Bach and Jazz". A Bach Christmas. BBC Radio 3. Archived from the original on 24 September 2013. Retrieved 27 December 2014.
216. ^ a b 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.
217. ^ "Bach Edition" Archived 10 November 2016 at the Wayback Machine at www.musicweb-international.com 1 December 2001
218. ^ Teldec's 1999 Bach 2000 Box set, Limited Edition Archived 12 October 2016 at the Wayback Machine at www.amazon.com
219. ^ Bach-Edition: The Complete Works (172 CDs & CDR) Archived 29 September 2015 at the Wayback Machine at the Hänssler Classic website
220. ^ "Golden Record: Music from Earth". NASA. Archived from the original on 1 July 2013. Retrieved 26 July 2012.
221. ^ Bach Archived 23 October 2011 at the Wayback Machine, USGS Gazetteer of Planetary Nomenclature
222. ^ "JPL Small-Body Database Browser". Archived from the original on 24 February 2017.
223. ^ List of works by Johann Sebastian Bach and Category:Bach, Johann Sebastian at IMSLP website
224. ^ "Bach Digital". bach-digital.de. Bach Digital. Retrieved 16 June 2021.
225. ^ "Autograph of h-Moll-Messe (Mass in B minor) by Johann Sebastian Bach". UNESCO. 2015. Retrieved 31 January 2022.
226. ^ Alex Ross (25 December 2016). "Bach's Holy Dread". The New Yorker.
227. ^ BBC Music Magazine (31 October 2019). "JS Bach is the greatest composer of all time, say today's leading composers for BBC Music Magazine". classical-music.com Ltd. Retrieved 14 August 2020.
228. ^ Lesser Feasts and Fasts 2018. Church Publishing, Inc. 17 December 2019. ISBN 978-1-64065-235-4.
229. ^ "Church Music Sunday" (PDF). Evangelical Lutheran Church in America. 2013.
230. ^ 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. doi:10.5694/j.1326-5377.2009.tb02354.x. PMID 19220191. S2CID 7925258. Archived (PDF) from the original on 2 December 2013.

### Works cited

[edit]

#### Biographies

[edit]

See also: Biographies of Johann Sebastian Bach

* Boyd, Malcolm (2000). Bach. Oxford: Oxford University Press. ISBN 978-0-19-514222-8.
* David, Hans T. [in German]; Mendel, Arthur; Wolff, Christoph (1998). The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents. New York: W. W. Norton. ISBN 978-0-393-31956-9. OCLC 37801400.
* Eidam, Klaus [in German] (2001). The True Life of Johann Sebastian Bach. New York: Basic Books. ISBN 978-0-465-01861-1.
* Forkel, Johann Nikolaus (1920). Johann Sebastian Bach: His Life, Art, and Work. Translated by Charles Sanford Terry. New York; London: Harcourt, Brace and Howe; Constable.
* Gardiner, John Eliot (2013). Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach. London: Allen Lane. ISBN 978-0-7139-9662-3.
* Geck, Martin (2003). Bach. Translated by Anthea Bell. London: Haus Publishing. ISBN 978-1-904341-16-1. Archived 24 February 2017 at the Wayback Machine
* Geck, Martin (2006). Johann Sebastian Bach: Life and Work. Orlando: Harcourt. ISBN 978-0-15-100648-9.
* Geiringer, Karl (1966). Johann Sebastian Bach: The Culmination of an Era. New York: Oxford University Press. ISBN 978-0-19-500554-7.
* Schweitzer, Albert (1911). J. S. Bach. Translated by Ernest Newman. New York: Macmillan Publishers., first published in French in 1905 and in German in 1908.(Vol. 1, Vol. 2)
* Schweitzer, Albert (1923) [1905]. J. S. Bach. Vol. 1\. Translated by Ernest Newman. New York: Macmillan Publishers.
* Spitta, Philipp (1899a). Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685–1750. Vol. 1\. Translated by Clara Bell; J. A. Fuller Maitland. London: Novello & Co.
* Spitta, Philipp (1899b). Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685–1750. Vol. 2\. Translated by Clara Bell; J. A. Fuller Maitland. London: Novello & Co.
* Spitta, Philipp (1899c). Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685–1750. Vol. 3\. Translated by Clara Bell; J. A. Fuller Maitland. London: Novello & Co.
* Terry, Charles Sanford (1928). Bach: A Biography. Oxford: Oxford University Press.
* Williams, Peter (2003a). The Life of Bach. Cambridge: Cambridge University Press. ISBN 978-0-521-53374-4.
* Williams, Peter (2007). Bach: A Life in Music. Cambridge: Cambridge University Press. ISBN 978-0-521-87074-0.
* Williams, Peter (2016). Bach: A Musical Biography. Cambridge: Cambridge University Press. ISBN 978-1-107-13925-1.
* Wolff, Christoph (1991). Bach: Essays on his Life and Music. Cambridge, Massachusetts: Harvard University Press. ISBN 978-0-674-05926-9.
* Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. Oxford: Oxford University Press. ISBN 978-0-19-816534-7. Second edition, 2013, W. W. Norton, New York and London, ISBN 978-0-393-32256-9 pbk.
* Wolff, Christoph; Emery, Walter (20 January 2001). "Bach, Johann Sebastian". Grove Music Online (8th ed.). Oxford University Press. doi:10.1093/gmo/9781561592630.article.6002278195. ISBN 978-1-56159-263-0. (subscription or UK public library membership required)

#### Other

[edit]

* Applegate, Celia (2005). Bach in Berlin: Nation and Culture in Mendelssohn's revival of the St. Matthew Passion. Ithaca, New York: Cornell University Press. ISBN 9780801443893.
* Boyd, Malcolm, ed. (1999). J. S. Bach. Oxford Composer Companions. Oxford University Press.
* Butt, John, ed. (1997). The Cambridge Companion to Bach. Cambridge University Press. ISBN 978-0-521-58780-8.
* Chiapusso, Jan (1968). Bach's World. Scarborough, Ontario: Indiana University Press. ISBN 978-0-253-10520-2.
* Crist, Stephen A.; Stauff, Derek (2011). "Johann Sebastian Bach". Oxford Bibliographies: Music. Oxford: Oxford University Press. doi:10.1093/OBO/9780199757824-0043. (subscription required)
* Dent, Edward Joseph (2004). Handel. R A Kessinger Publishing. ISBN 1-4191-2275-4.
* Donington, Robert (1982). Baroque Music: Style and Performance: A Handbook. New York: W. W. Norton. ISBN 978-0-393-30052-9.
* Dürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German) (4 ed.). Deutscher Taschenbuchverlag. ISBN 978-3-423-04080-8.
* Dürr, Alfred; Jones, Richard D. P. (2006), The Cantatas of J.S. Bach, Oxford University Press, ISBN 978-0-19-929776-4
* Herl, Joseph (2004). Worship Wars in Early Lutheranism: Choir, Congregation, and Three Centuries of Conflict. Oxford: Oxford University Press. ISBN 978-0-19-515439-9.
* Herz, Gerhard (1985). Essays on J. S. Bach. Ann Arbor, Michigan: University of Michigan Press. ISBN 978-0-8357-1989-6.
* Jones, Richard (2007). The Creative Development of Johann Sebastian Bach. Oxford: Oxford University Press. ISBN 978-0-19-816440-1.
* Kerst, Friedrich (1904). Beethoven im eigenen Wort (in German). Berlin: Schuster & Loeffler.
* Kupferberg, Herbert (1985). Basically Bach: A 300th Birthday Celebration. New York: McGraw-Hill. ISBN 978-0-07-035646-7.
* Leaver, Robin A. (2007). Luther's Liturgical Music. Grand Rapids, Michigan: William B. Eerdmans Publishing Company. ISBN 978-0-8028-3221-4.
* Lester, Joel (1999). Bach's Works for Solo Violin: Style, Structure, Performance. Oxford University Press. ISBN 978-0-19-512097-4.
* Miles, Russell H. (1962). Johann Sebastian Bach: An Introduction to His Life and Works. Englewood Cliffs, New Jersey: Prentice Hall. OCLC 600065.
* Morris, Edmund (2005). Beethoven: the Universal Composer. New York: HarperCollins. ISBN 978-0-06-075974-2.
* Rich, Alan (1995). Johann Sebastian Bach: Play by Play. San Francisco: HarperCollins. ISBN 978-0-06-263547-1.
* Schenk, Erich; Winston, Richard; Winston, Clara (1959). Mozart and His Times. New York: Alfred A. Knopf. OCLC 602180.
* Schneider, Max (1907). "Verzeichnis der bis zum Jahre 1851 gedruckten (und der geschrieben im Handel gewesenen) Werke von Johann Sebastian Bach". Bach-Jahrbuch. VII (3). Neue Bachgesellschaft: 84–113.
* Schulenberg, David (2006). The Keyboard Music of J. S. Bach. New York: Routledge. ISBN 978-0-415-97400-4.
* Spaeth, Sigmund (1937). Stories Behind the World's Great Music. New York: Whittlesey House.
* Stauffer, George B. (2008). "Music for "Cavaliers et Dames": Bach and the Repertoire of His Collegium Musicum". In Butler, Gregory G.; Stauffer, George B.; Greer, Mary Galton (eds.). About Bach. University of Illinois Press. pp. 135–156. ISBN 978-0-252-03344-5.
* Van Til, Marian (2007). George Frideric Handel: A Music Lover's Guide to His Life, His Faith & the Development of Messiah and His Other Oratorios. Youngstown, New York: WordPower Publishing. ISBN 978-0-9794785-0-5.
* Williams, Peter (1980), The Organ Music of J. S. Bach, Volume II: BWV 599–771, etc., Cambridge Studies in Music, Cambridge University Press, ISBN 978-0-521-31700-9; Williams, Peter (2003b), The Organ Music of J. S. Bach (2nd ed.), Cambridge University Press, ISBN 978-0-521-89115-8
* Wolff, Christoph, ed. (1983). The New Grove Bach Family. London: Macmillan. ISBN 978-0-333-34350-0.
* Wolff, Christoph, ed. (1997). The World of the Bach Cantatas: Johann Sebastian Bach's Early Sacred Cantatas. New York: W. W. Norton. ISBN 978-0-393-33674-0.
* Wolff, Christoph; Emery, Walter; Wollny, Peter; Leisinger, Ulrich; Roe, Stephen (17 January 2018) [2001]. "Bach family". Grove Music Online. Oxford: Oxford University Press. doi:10.1093/gmo/9781561592630.article.40023. ISBN 978-1-56159-263-0. (subscription or UK public library membership required)

## Further reading

[edit]

See: Crist & Stauff 2011, for an extensive bibliography.

* Baron, Carol K. (2006). Bach's Changing World: Voices in the Community. Rochester, New York: University of Rochester Press. ISBN 978-1-58046-190-0.
* Dörffel, Alfred (1882). Thematisches Verzeichnis der Instrumentalwerke von Joh. Seb. Bach (in German). Leipzig: C. F. Peters. N.B.: First published in 1867; superseded, for scholarly purposes, by Wolfgang Schmieder's complete thematic catalogue, but useful as a handy reference tool for only the instrumental works of Bach and as a partial alternative to Schmieder's work.
* Hofstadter, Douglas (1999). Gödel, Escher, Bach: An Eternal Golden Braid. New York: Basic Books. ISBN 978-0-465-02656-2.
* Leaver, Robin A. (2016), The Routledge Research Companion to Johann Sebastian Bach, Routledge, ISBN 978-0-367-58143-5
* Pirro, André (2014) [1907]. The Aesthetic of Johann Sebastian Bach. Lanham, Maryland: Rowman & Littlefield. ISBN 978-1-4422-3290-7.
* Stauffer, George B.; May, Ernest (1986). J. S. Bach as Organist: His Instruments, Music, and Performance Practices. Bloomington: Indiana University Press. ISBN 978-0-253-33181-6.

## External links

[edit]

Johann Sebastian Bach at Wikipedia's sister projects

* Media from Commons
* Quotations from Wikiquote
* Texts from Wikisource

German Wikisource has original text related to this article:

Johann Sebastian Bach

* "Discovering Bach". BBC Radio 3.
* bach-leipzig website of the Bach Archive.
* Yo Tomita's Bach Bibliography (23 March 2012), mirror at the Riemenschneider Bach Institute.
* Works by or about Johann Sebastian Bach at the Internet Archive.

Scores

* Johann Sebastian Bach at the Musopen project.
* Free scores by Johann Sebastian Bach at the International Music Score Library Project (IMSLP).
* Music manuscripts and early prints at Bach Digital website.

Recordings

* Johann Sebastian Bach recordings at the Discography of American Historical Recordings.
* Johann Sebastian Bach (1685–1750) at Muziekweb website.
* All of Bach website of the Netherlands Bach Society.

* v
* t
* e

Johann Sebastian Bach

Compositions|

| by BWV|

* Cantatas
* Motets
* Masses, Mass movements, Magnificats, Passions and Oratorios
* Chorale harmonisations
* Songs and arias
* Organ compositions
* Keyboard and lute
* Chamber music
* Orchestral works
* Fugal works
* Anh.

|

More info|

* Bach cantata
* Church music in Latin
* Passions
* Bach's choir and orchestra
* Performance practice of Bach's music
* BACH motif
* Printed during Bach's lifetime
* Reception
* Reconstructions
* Transcriptions
* New Bach Edition

People|

* Family
* Students

| Biographers
and scholars|

* Basso
* Dadelsen
* Dürr
* Forkel
* Glöckner
* Hofmann
* Jones
* Maul
* Neumann
* Riemenschneider
* Rust
* Schmieder
* Schulze
* Spitta
* Terry
* Williams
* Wolf
* Wolff
* Wollny
* Zehnder

|

Organizations|

* Bach Society
* Bach Gesellschaft
* Neue Bachgesellschaft
* Bach Archive (Leipzig)
* Johann Sebastian Bach Institute (Göttingen)
* Internationale Bachakademie Stuttgart
* J.S. Bach Foundation (St. Gallen)
* List of Bach choirs

Places|

* Bach House (Eisenach)
* Bach House (Köthen)
* Café Zimmermann
* St. Thomas Church, Leipzig

Other topics|

* Bach festivals
* Bach Medal and Competition (Leipzig)
* Bach Prize (Hamburg)
* Bach Prize (Royal Academy of Music)
* Three Bs
* Portraits
* Bach quadrangle
* crater

* Category
* Audio

Links to related articles

* v
* t
* e

Bach family

Members
(showing relationship to
Johann Sebastian Bach)|

* Anna Magdalena Bach (2nd wife)
* Carl Philipp Emanuel Bach (son)
* Christoph Bach (grandfather)
* Elisabeth Lämmerhirt (mother)
* Georg Christoph Bach (uncle)
* Gottfried Heinrich Bach (son)
* Johann Aegidius Bach (uncle)
* Johann Ambrosius Bach (father)
* Johann Bernhard Bach (2nd cousin)
* Johann Bernhard Bach the Younger (nephew)
* Johann Christian Bach (son)
* Johann Christoph Altnickol (son-in-law)
* Johann Christoph Bach (1st cousin once removed)
* Johann Christoph Bach (organist at Ohrdruf) (brother)
* Johann Christoph Bach (musician at Arnstadt) (uncle)
* Johann Christoph Friedrich Bach (son)
* Johann Ernst Bach (musician at Saxe-Weimar) (2nd cousin once removed)
* Johann Gottfried Bernhard Bach (son)
* Johann Jacob Bach (brother)
* Johann Ludwig Bach (3rd cousin)
* Johann Michael Bach (father-in-law)
* Johann Michael Bach (nephew)
* Johann Nicolaus Bach (2nd cousin)
* Johann Sebastian Bach (self)
* Johann Sebastian Bach the Younger (grandson)
* Johannes Bach I (great-grandfather)
* Johannes Bach
* Maria Barbara Bach (1st wife/2nd cousin)
* Veit Bach (great-great-grandfather)
* Wilhelm Friedemann Bach (son)
* Wilhelm Friedrich Ernst Bach (grandson)

Compositions|

* Altbachisches Archiv
* Bach Digital
* by Carl Philipp Emanuel
* by Johann Christian
* by Johann Sebastian

* v
* t
* e

Thomaskantors of the Thomanerchor

Thomaskantors|

* Georg Rhau (1518–1520)
* Johannes Galliculus (1520–1525)
* Valerian Hüffeler (1526–1530)
* Johannes Hermann (1531–1536)
* Wolfgang Jünger (1536–1539)
* Johannes Bruckner (1539–1540)
* Ulrich Lange (1540–1549)
* Wolfgang Figulus (1549–1551)
* Melchior Heger (1553–1564)
* Valentin Otto (1564–1594)
* Sethus Calvisius (1594–1615)
* Johann Hermann Schein (1615–1630)
* Tobias Michael (1631–1657)
* Sebastian Knüpfer (1657–1676)
* Johann Schelle (1677–1701)
* Johann Kuhnau (1701–1722)
* Johann Sebastian Bach (1723–1750)
* Gottlob Harrer (1750–1755)
* Johann Friedrich Doles (1756–1789)
* Johann Adam Hiller (1789–1801)
* August Eberhard Müller (1801–1810)
* Johann Gottfried Schicht (1810–1823)
* Christian Theodor Weinlig (1823–1842)
* Moritz Hauptmann (1842–1868)
* Ernst Friedrich Richter (1868–1879)
* Wilhelm Rust (1880–1892)
* Gustav Schreck (1893–1918)
* Karl Straube (1918–1939)
* Günther Ramin (1939–1956)
* Kurt Thomas (1957–1960)
* Erhard Mauersberger (1961–1972)
* Hans-Joachim Rotzsch (1972–1991)
* Georg Christoph Biller (1992–2015)
* Gotthold Schwarz (2016–2021)
* Andreas Reize (since 2021)

Related|

* Forum Thomanum

* Category

* v
* t
* e

Lutheran hymnody

English hymnals|

* Christian Worship (1993)
* Common Service Book (1917)
* Evangelical Lutheran Hymn-Book (1912)
* Evangelical Lutheran Hymnary (1996)
* Evangelical Lutheran Worship (2006)
* Lutheran Book of Worship (1978)
* The Lutheran Hymnal (1941)
* Lutheran Hymnal with Supplement (1989)
* Lutheran Service Book (2006)
* Lutheran Worship (1982)
* ReClaim Hymnal (2006)
* Service Book and Hymnal (1958)

German hymnals|

* First Lutheran hymnal (1524)
* Erfurt Enchiridion (1524)
* Eyn geystlich Gesangk Buchleyn (1524)
* Praxis pietatis melica (1640/47)
* Becker Psalter (1602)
* Evangelisches Gesangbuch (1993)

In other languages|

| Danish|

* Den Danske Salmebog
* Guldberg's hymnal
* Kingo's hymnal
* Thomissøn's hymnal

|

Faroese|

* Sálmabók Føroya kirkju

|

Finnish|

* Siionin Virret
* Virsikirja

|

Icelandic|

* Passion Hymns

|

Norwegian|

* Nokre salmar (1869)
* Landstads kirkesalmebog (1870)
* Psalmebog for Kirke og Hus (1873)
* Landstads reviderte salmebok (1924)
* Nynorsk salmebok (1925)
* Salmer 1973
* Norsk Salmebok (1985)
* Salmer 1997
* Norsk salmebok 2013

|

Spanish|

* Culto Cristiano

|

Swedish|

* Swenske songer (1536)
* Een liten Songbook (in Swedish, 1553)
* Den svenska psalmboken (1695)
* Den svenska psalmboken (1819)
* Hemlandssånger (in Swedish, 1891)
* Den svenska psalmboken (1937)
* Den svenska psalmboken (1986)

|

Hymnodists
and
hymnologists|

* Mikael Agricola
* Johann Georg Albinus
* Albert von Brandenburg
* Michael Altenburg
* Anna Sophia II
* Johann Sebastian Bach
* Emilie Juliane of Barby-Mühlingen
* Martin Behm
* Sigmund von Birken
* Carl Boberg
* Birgitte Cathrine Boye
* Hans Adolph Brorson
* Johan Nordahl Brun
* Joachim a Burck
* Dieterich Buxtehude
* Christian Cappelen
* Elisabeth Cruciger
* Johann Crüger
* Simon Dach
* Wolfgang Dachstein
* Nikolaus Decius
* Paul Eber
* Ludmilla Elisabeth
* Princess Eugénie
* Jacobus Finno
* Paul Fleming
* Johann Franck
* Michael Franck
* Melchior Franck
* Salomon Franck
* Frans Michael Franzén
* Erik Gustaf Geijer
* Paul Gerhardt
* Bartholomäus Gesius
* Johannes Gigas
* N. F. S. Grundtvig
* Britt G. Hallqvist
* Andreas Hammerschmidt
* Claus Harms
* Fredrik Gabriel Hedberg
* Christian Fürchtegott Gellert
* Johann Heermann
* Ludwig Helmbold
* Valerius Herberger
* Nikolaus Herman
* Johannes Hermann
* Sebald Heyden
* Anders Hovden
* Konrad Hubert
* Bernhard Severin Ingemann
* Justus Jonas
* Sigfrid Karg-Elert
* Christian Keymann
* Balthasar Kindermann
* Thomas Kingo
* Børre Knudsen
* Johann Kolross
* Johann Balthasar König
* Julius Krohn
* Magnus Brostrup Landstad
* Ludvig Mathias Lindeman
* Elias Lönnrot
* Matthäus Apelles von Löwenstern
* Matthias Loy
* Sigurd Lunde
* Martin Luther
* Wilhelmi Malmivaara
* Hemminki of Masku
* Felix Mendelssohn
* Johann Matthäus Meyfart
* Georg Neumark
* Erdmann Neumeister
* Philipp Nicolai
* Johann Pachelbel
* Hallgrímur Pétursson
* Michael Praetorius
* Christian Heinrich Postel
* Adam Reusner
* Bartholomäus Ringwaldt
* Martin Rinkart
* Johann Rist
* Christian Knorr von Rosenroth
* Daniel Rumpius
* Johan Runeberg
* Gottfried Wilhelm Sacer
* Lina Sandell
* Carl Schalk
* Martin Schalling
* Heinrich Scheidemann
* Johann Hermann Schein
* Benjamin Schmolck
* Cyriakus Schneegass
* Johann Schop
* Johann Balthasar Schupp
* Heinrich Schütz
* Nikolaus Selnecker
* Eyvind Skeie
* Haquin Spegel
* Lazarus Spengler
* Paul Speratus
* Philipp Spitta
* Paul Stockmann
* Jesper Swedberg
* Jiří Třanovský
* Melchior Teschner
* N. Samuel of Tranquebar
* Zachris Topelius
* Leonard Typpö
* Jaroslav Vajda
* Gottfried Vopelius
* Philipp Wackernagel
* Johan Olof Wallin
* Johann Walter
* Michael Weiße
* Georg Weissel
* Olle Widestrand
* Carl David af Wirsén
* Catherine Winkworth
* Johannes Zahn

* Luther § Hymnodist
* Hymns by Luther
* Lutheran hymn
* In continental Europe
* Lutheran chorale
* Chorale setting
* Chorale cantata

* v
* t
* e

Baroque music

List of Baroque composers

Transitional
and early (c. 1600)|

* Allegri
* G. Caccini
* Coelho
* J. Dowland
* Franck
* Frescobaldi
* Gabrieli
* V. Galilei
* C. Gibbons
* O. Gibbons
* d'India
* Kapsberger
* Landi
* Lawes
* Michna
* Merula
* Monteverdi
* Peri
* M. Praetorius
* Rossi
* Scheidt
* Schein
* Schütz
* Sweelinck

Middle (c. 1650)|

* Amodei
* d'Anglebert
* Bassani
* H. I. F. Biber
* Blow
* Buxtehude
* Cabanilles
* Carissimi
* Cavalli
* Cesti
* Charpentier
* Clarke
* Corelli
* Diletsky
* Froberger
* Kerll
* Legrenzi
* J.-B. Lully
* M. Marais
* Muffat
* J. Pachelbel
* J. Playford
* H. Purcell
* Reincken
* Sabini
* Sanz
* A. Scarlatti
* Stradella
* Strozzi
* Torelli
* Torrejón y Velasco
* Vejvanovský

Late (c. 1700)|

* Albinoni
* J. S. Bach
* Bodin de Boismortier
* G. B. Bononcini
* Caldara
* Campra
* F. Couperin
* Delalande
* Fasch
* Fischer
* Fux
* Geminiani
* Gorczycki
* Graupner
* Handel
* Heinichen
* Jacquet de La Guerre
* Leclair l'aîné
* Locatelli
* Lotti
* A. Marcello
* Pepusch
* Pergolesi
* Pisendel
* Porpora
* Quantz
* Rameau
* D. Scarlatti
* Seixas
* Tartini
* Telemann
* Vinci
* Vivaldi
* Weiss
* Zelenka
* de Zumaya

Galant (c. 1720)|

* Arne
* C. P. E. Bach
* J. C. Bach
* W. F. Bach
* F. Benda
* Boccherini
* Boyce
* F. Brixi
* Corrette
* Frederick the Great
* Galuppi
* Hasse
* Padre Martini
* Mysliveček
* Mondonville
* L. Mozart
* Quantz
* Sammartini
* Soler
* Telemann
* Zach

Musical
Instruments|

* bassoon
* carillon
* cello
* clavichord
* cornett
* double bass
* drum
* flute
* fortepiano
* guitar
* harp
* harpsichord
* lautenwerck
* lute
* oboe
* organ
* recorder
* sackbut
* theorbo
* trumpet
* viol
* viola
* violin
* violone

Ensembles|

* Baroque orchestra
* Basso continuo

Musical forms|

* aria
* ballet
* cantata
* canon
* canzona
* canzonetta
* capriccio
* chaconne
* 17th-century
* 18th-century
* chorale
* concertato
* concerto
* concerto grosso
* dance
* courante
* gavotte
* gigue
* minuet
* passacaglia
* sarabande
* fantasia
* folia
* fugue
* grand motet
* madrigal
* mass
* opera
* prelude
* recitative
* ricercar
* sonata da chiesa
* suite

Other topics|

* Baroque pop
* Chamber pop
* British Baroque music
* counterpoint
* early music revival
* festivals
* ensembles
* historically informed performance
* Figured bass
* Folk baroque
* monody
* notes inégales
* polychoral style
* Style brisé
* Galant Schemata

Background|

* Common practice period
* Baroque
* Architecture
* Dance
* Painting
* Sculpture

← Renaissance music

Classical music →

* Category
* Portal

* v
* t
* e

Voyager Golden Record

* Contents
* Voyager program
* Voyager 1
* Voyager 2

Sound|

* first movement of Brandenburg Concerto No. 2, BWV 1047
* "Cavatina" from Beethoven's String Quartet No. 13
* Chakrulo
* "Dark Was the Night, Cold Was the Ground"
* "Gavotte en Rondeau" from Partita for Violin No. 3, BWV 1006
* "Izlel ye Delyo Haydutin"
* "Johnny B. Goode"
* Mugham
* Prelude and Fugue in C major, BWV 870, from The Well-Tempered Clavier, Book II
* Puspawarna
* Queen of the Night aria from The Magic Flute
* "Sacrificial Dance" from The Rite of Spring
* Songs of the Humpback Whale
* first movement of Beethoven's Symphony No. 5

Contributors|

* Louis Armstrong
* and His Hot Seven
* Valya Balkanska
* Bavarian State Opera
* with Edda Moser, conductor: Wolfgang Sawallisch
* Budapest String Quartet
* Johann Sebastian Bach
* Ludwig van Beethoven
* Chuck Berry
* Columbia Symphony Orchestra
* conductor: Igor Stravinsky
* John Cohen
* Ann Druyan
* Glenn Gould
* Arthur Grumiaux
* Guan Pinghu
* Anthony Holborne
* Kamil Jalilov
* Blind Willie Johnson
* Kesarbai Kerkar
* Wolfgang Amadeus Mozart
* Münchener Bach-Orchester
* conductor: Karl Richter
* David Munrow
* with the Early Music Consort
* K. P. H. Notoprojo
* Philharmonia Orchestra
* conductor: Otto Klemperer
* Carl Sagan
* Nick Sagan
* Laurie Spiegel
* Gorō Yamaguchi

* Category
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Portals:

* Biography
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Authority control databases

International|

* FAST
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* WorldCat

National|

* Norway
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* Netherlands
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* 2
* Portugal
* Vatican

Academics|

* CiNii

Artists|

* Discography of American Historical Recordings
* KulturNav
* MusicBrainz

People|

* BMLO
* Deutsche Biographie
* Trove

Other|

* RISM
* SNAC
* IdRef
* Te Papa (New Zealand)

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