Johann Sebastian Bach

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Born: 1685   Died: 1750   Country: Germany   Period: Baroque
Johann Sebastian Bach was better known as a virtuoso organist than as a composer in his day. His sacred music, organ and choral works, and other instrumental music had an enthusiasm and seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and innovative, and the immense complexities of his compositional style -- which often included religious and numerological symbols that seem to fit perfectly together in a Read more profound puzzle of special codes -- still amaze musicians today. Many consider him the greatest composer of all time.

Bach was born in Eisenach in 1685. He was taught to play the violin and harpsichord by his father, Johann Ambrosius, a court trumpeter in the service of the Duke of Eisenach. Young Johann was not yet ten when his father died, leaving him orphaned. He was taken in by his recently married oldest brother, Johann Christoph, who lived in Ohrdruf. Because of his excellent singing voice, Bach attained a position at the Michaelis monastery at Lüneberg in 1700. His voice changed a short while later, but he stayed on as an instrumentalist. After taking a short-lived post in Weimar in 1703 as a violinist, Bach became organist at the Neue Kirche in Arnstadt (1703-1707). His relationship with the church council was tenuous as the young musician often shirked his responsibilities, preferring to practice the organ. One account describes a four-month leave granted Bach, to travel to Lubeck where he would familiarize himself with the music of Dietrich Buxtehude. He returned to Arnstadt long after was expected and much to the dismay of the council. He then briefly served at St. Blasius in Mühlhausen as organist, beginning in June 1707, and married his cousin, Maria Barbara Bach, that fall. Bach composed his famous Toccata and Fugue in D minor (BWV 565) and his first cantatas while in Mühlhausen, but quickly outgrew the musical resources of the town. He next took a post for the Duke of Sachsen-Weimar in 1708, serving as court organist and playing in the orchestra, eventually becoming its leader in 1714. He wrote many organ compositions during this period, including his Orgel-Büchlein. Owing to politics between the Duke and his officials, Bach left Weimar and secured a post in December 1717 as Kapellmeister at Cöthen. In 1720, Bach's wife suddenly died, leaving him with four children (three others had died in infancy). A short while later, he met his second wife, soprano Anna Magdalena Wilcke, whom he married in December 1721. She would bear 13 children, though only five would survive childhood. The six Brandenburg Concertos (BWV 1046-51), among many other secular works, date from his Cöthen years. Bach became Kantor of the Thomas School in Leipzig in May 1723 and held the post until his death. It was in Leipzig that he composed the bulk of his religious and secular cantatas. Bach eventually became dissatisfied with this post, not only because of its meager financial rewards, but also because of onerous duties and inadequate facilities. Thus, he took on other projects, chief among which was the directorship of the city's Collegium Musicum, an ensemble of professional and amateur musicians who gave weekly concerts, in 1729. He also became music director at the Dresden Court in 1736, in the service of Frederick Augustus II; though his duties were vague and apparently few, they allowed him freedom to compose what he wanted. Bach began making trips to Berlin in the 1740s, not least because his son Carl Philipp Emanuel served as a court musician there. In May 1747, the composer was warmly received by King Frederick II of Prussia, for whom he wrote the gloriously abstruse Musical Offering (BWV 1079). Among Bach's last works was his 1749 Mass in B minor. Besieged by diabetes, he died on July 28, 1750. Read less

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Martin Luther und die Musik / Stotzel, Johann Rosenmuller Ensemble, Bach-Chor Siegen
Martin Luther und die Musik / Stotzel, Johann Rosenmuller Ensemble, Bach-Chor Siegen
Release Date: 03/03/2017   Label: Cpo  
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Walter Gieseking: Complete Bach Recordings on Deutsche Grammophon
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Bach: Suites for Solo Cello / Higham
Bach: Suites for Solo Cello / Higham
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Bach: Goldberg Variations & Its Predecessors / Armstrong [Blu-ray]
Bach: Goldberg Variations & Its Predecessors / Armstrong [Blu-ray]
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Bach: Goldberg Variations & Its Predecessors / Armstrong
Bach: Goldberg Variations & Its Predecessors / Armstrong
Release Date: 07/28/2017   Label: C Major  
Catalog: 741608   Number of Discs: 1
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Work: Goldberg Variations, BWV 988

 

Aria
Variation 1 a 1 Clav.
Variation 2 a 1 Clav.
Variation 3 a 1 Clav. Canone all' Unisuono
Variation 4 a 1 Clav.
Variation 5 a 1 ovvero 2 Clav.
Variation 6 a 1 Clav. Canone all Seconda
Variation 7 a 1 ovvero 2 Clav.
Variation 8 a 2 Clav.
Variation 9 a 1 Clav. Canone alla Terza
Variation 10 a 1 Clav. Fughetta
Variation 11 a 2 Clav.
Variation 12 Canone alla Quarta
Variation 13 a 2 Clav.
Variation 14 a 2 Clav.
Variation 15 a 1 Clav. Canone alla Quinta in moto contrario. a 1 Clav. Andante
Variation 16 Ouverture a 1 Clav.
Variation 17 a 2 Clav.
Variation 18 - Canone alla Sesta a 1 Clav.
Variation 19 a 1 Clav.
Variation 20 a 2 Clav.
Variation 21 Canone alla Settima
Variation 22 Alla breve a 1 Clav.
Variation 23 a 2 Clav.
Variation 24 Canone all' Ottava a 1 Clav.
Variation 25 a 2 Clav.
Variation 26 a 2 Clav.
Variation 27 Canone alla Nona
Variation 28 a 2 Clav.
Variation 29 a 1 ovvero 2 Clav.
Quodlibet
Aria da capo
About This Work
Johann Sebastian Bach completed the Goldberg Variations, BWV 988, for keyboard in 1741. The work consists of an aria and 30 variations. Scholars at the end of the twentieth century were still debating the exact details of the work's origin, but many Read more accept that J.G. Goldberg commissioned it. His job was to perform for Count Keyserkingk, a chronic insomniac who needed music to lull him to sleep. Many records suggest that Bach once taught Goldberg, a famed virtuoso, who would have easily been able to play the variations. It is also believed that the technical wizardry required to play the variations comes directly from Bach's study of Domenico Scarlatti's Essercizi for keyboard from 1739, itself a daunting piece for exceptional players only.

The aria that Bach used is of unknown origin; it was probably not the composer's own, but was related to a now-untraceable French keyboard dance. The basic harmonies and structures of the variations are all the same as the theme's. The work exemplifies Bach's quest for the greatest amount of diversity within relentless unity. The Goldberg Variations are among the most sophisticated works ever written for keyboard, but the work does not sound like the awesomely complex compendium that it is. The music is deceptively simple and heartfelt, with a noble calm even when the performer is obliged to cross hands at lightning speeds. It never seethes or gets gritty, and is, of course, never boring. The aria theme is subjected to ever-new means of contrapuntal manipulation. Every third variation is a different kind of canon. The final variation breaks with this trend in order to offer up a quodlibet which uses well-known tunes for a humorous effect. The tunes, "Cabbage and beets have driven me away" and "I have so long been away from you," were a rousing, popular tune and an end-of-the-evening dance number respectively.

This work is sublime and compassionate, graceful, warm, and relentlessly intricate, a demonstration of unmatched craft in music history and genuine, poetic imagination. The Goldberg Variations is a work that still engages scholars hundreds of years after its publication and is equally valuable for attracting new listeners to this sort of music.

- John Keillor Read less

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