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The Bach family is a family of notable composers of the baroque and classical periods of music, the best-known of whom was Johann Sebastian Bach (1685–1750). [1] A family genealogy was drawn up by Johann Sebastian Bach himself in 1735 when he was 50 and was continued by his son Carl Philipp Emanuel. [2]
- Overview
- Early years
- The Arnstadt period
- The Mühlhausen period
- The Weimar period
- The Köthen period
- Years at Leipzig
Johann Sebastian Bach is regarded as one of the greatest composers of all time. He is celebrated as the creator of many masterpieces of church and instrumental music. His compositions represent the best of the Baroque era.
What did Johann Sebastian Bach compose?
Johann Sebastian Bach composed over 1,000 pieces of music. Some of his most famous work included the Brandenburg Concertos, The Well-Tempered Clavier, and the Mass in B Minor.
What was Johann Sebastian Bach’s childhood like?
Johann Sebastian Bach was born into a musical family. Orphaned before he turned 10 years old, he was looked after by his eldest brother, an organist who gave him his first keyboard lessons. Bach did well at school, and he was selected for a choir of poor boys at the school in Michaelskirche, Lüneburg, Germany.
When did Johann Sebastian Bach get married?
J.S. Bach was the youngest child of Johann Ambrosius Bach and Elisabeth Lämmerhirt. Ambrosius was a string player, employed by the town council and the ducal court of Eisenach. Johann Sebastian started school in 1692 or 1693 and did well in spite of frequent absences. Of his musical education at this time, nothing definite is known; however, he may have picked up the rudiments of string playing from his father, and no doubt he attended the Georgenkirche, where Johann Christoph Bach was organist until 1703.
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Composers & Their Music
By 1695 both his parents were dead, and he was looked after by his eldest brother, also named Johann Christoph (1671–1721), organist at Ohrdruf. This Christoph had been a pupil of the influential keyboard composer Johann Pachelbel, and he apparently gave Johann Sebastian his first formal keyboard lessons. The young Bach again did well at school, and in 1700 his voice secured him a place in a select choir of poor boys at the school at Michaelskirche, Lüneburg.
His voice must have broken soon after this, but he remained at Lüneburg for a time, making himself generally useful. No doubt he studied in the school library, which had a large and up-to-date collection of church music; he probably heard Georg Böhm, organist of the Johanniskirche; and he visited Hamburg to hear the renowned organist and composer Johann Adam Reinken at the Katharinenkirche, contriving also to hear the French orchestra maintained by the duke of Celle.
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At Arnstadt, on the northern edge of the Thuringian Forest, where he remained until 1707, Bach devoted himself to keyboard music, the organ in particular. While at Lüneburg he had apparently had no opportunity of becoming directly acquainted with the spectacular, flamboyant playing and compositions of Dietrich Buxtehude, the most significant exponent of the north German school of organ music. In October 1705 he repaired this gap in his knowledge by obtaining a month’s leave and walking to Lübeck (more than 200 miles [300 km]). His visit must have been profitable, for he did not return until about the middle of January 1706. In February his employers complained about his absence and about other things as well: he had harmonized the hymn tunes so freely that the congregation could not sing to his accompaniment, and, above all, he had produced no cantatas. Perhaps the real reasons for his neglect were that he was temporarily obsessed with the organ and was on bad terms with the local singers and instrumentalists, who were not under his control and did not come up to his standards. In the summer of 1705 he had made some offensive remark about a bassoon player, which led to an unseemly scuffle in the street. His replies to these complaints were neither satisfactory nor even accommodating; and the fact that he was not dismissed out of hand suggests that his employers were as well aware of his exceptional ability as he was himself and were reluctant to lose him.
During these early years, Bach inherited the musical culture of the Thuringian area, a thorough familiarity with the traditional forms and hymns (chorales) of the orthodox Lutheran service, and, in keyboard music, perhaps (through his brother, Johann Christoph) a bias toward the formalistic styles of the south. But he also learned eagerly from the northern rhapsodists, Buxtehude above all. By 1708 he had probably learned all that his German predecessors could teach him and arrived at a first synthesis of northern and southern German styles. He had also studied, on his own and during his presumed excursions to Celle, some French organ and instrumental music.
In June 1707 Bach obtained a post at the Blasiuskirche in Mühlhausen in Thuringia. He moved there soon after and married his cousin Maria Barbara Bach at Dornheim on October 17. At Mühlhausen things seem, for a time, to have gone more smoothly. He produced several church cantatas at this time; all of these works are cast in a conservative mold, bas...
Bach was, from the outset, court organist at Weimar and a member of the orchestra. Encouraged by Wilhelm Ernst, he concentrated on the organ during the first few years of his tenure. From Weimar, Bach occasionally visited Weissenfels; in February 1713 he took part in a court celebration there that included a performance of his first secular cantata, Was mir behagt, also called the Hunt Cantata (BWV 208).
Late in 1713 Bach had the opportunity of succeeding Friedrich Wilhelm Zachow at the Liebfrauenkirche, Halle; but the duke raised his salary, and he stayed on at Weimar. On March 2, 1714, he became concertmaster, with the duty of composing a cantata every month. He became friendly with a relative, Johann Gottfried Walther, a music lexicographer and composer who was organist of the town church, and, like Walther, Bach took part in the musical activities at the Gelbes Schloss (“Yellow Castle”), then occupied by Duke Wilhelm’s two nephews, Ernst August and Johann Ernst, both of whom he taught. The latter was a talented composer who wrote concerti in the Italian manner, some of which Bach arranged for keyboard instruments; the boy died in 1715, in his 19th year.
Unfortunately, Bach’s development cannot be traced in detail during the vital years 1708–14, when his style underwent a profound change. There are too few datable works. From the series of cantatas written in 1714–16, however, it is obvious that he had been decisively influenced by the new styles and forms of the contemporary Italian opera and by the innovations of such Italian concerto composers as Antonio Vivaldi. The results of this encounter can be seen in such cantatas as No. 182, 199, and 61 in 1714, 31 and 161 in 1715, and 70 and 147 in 1716. His favourite forms appropriated from the Italians were those based on refrain (ritornello) or da capo schemes in which wholesale repetition—literal or with modifications—of entire sections of a piece permitted him to create coherent musical forms with much larger dimensions than had hitherto been possible. These newly acquired techniques henceforth governed a host of Bach’s arias and concerto movements, as well as many of his larger fugues (especially the mature ones for organ), and profoundly affected his treatment of chorales.
Among other works almost certainly composed at Weimar are most of the Orgelbüchlein (Little Organ Book), all but the last of the so-called 18 “Great” chorale preludes, the earliest organ trios, and most of the organ preludes and fugues. The “Great” Prelude and Fugue in G Major for organ (BWV 541) was finally revised about 1715, and the Toccata and Fugue in F Major (BWV 540) may have been played at Weissenfels.
There, as musical director, he was concerned chiefly with chamber and orchestral music. Even though some of the works may have been composed earlier and revised later, it was at Köthen that the sonatas for violin and clavier and for viola da gamba and clavier and the works for unaccompanied violin and cello were put into something like their present form. The Brandenburg Concertos were finished by March 24, 1721; in the sixth concerto—so it has been suggested—Bach bore in mind the technical limitations of the prince, who played the gamba. Bach played the viola by choice; he liked to be “in the middle of the harmony.” He also wrote a few cantatas for the prince’s birthday and other such occasions; most of these seem to have survived only in later versions, adapted to more generally useful words. And he found time to compile pedagogical keyboard works: the Clavierbüchlein for W.F. Bach (begun January 22, 1720), some of the French Suites, the Inventions (1720), and the first book (1722) of Das Wohltemperierte Klavier (The Well-Tempered Clavier, eventually consisting of two books, each of 24 preludes and fugues in all keys and known as “the Forty-Eight”). This remarkable collection systematically explores both the potentials of a newly established tuning procedure—which, for the first time in the history of keyboard music, made all the keys equally usable—and the possibilities for musical organization afforded by the system of “functional tonality,” a kind of musical syntax consolidated in the music of the Italian concerto composers of the preceding generation and a system that was to prevail for the next 200 years. At the same time, The Well-Tempered Clavier is a compendium of the most popular forms and styles of the era: dance types, arias, motets, concerti, etc., presented within the unified aspect of a single compositional technique—the rigorously logical and venerable fugue.
Maria Barbara Bach died unexpectedly and was buried on July 7, 1720. About November, Bach visited Hamburg; his wife’s death may have unsettled him and led him to inquire after a vacant post at the Jacobikirche. Nothing came of this, but he played at the Katharinenkirke in the presence of Reinken. After hearing Bach improvise variations on a chorale tune, the old man said, “I thought this art was dead; but I see it still lives in you.”
On December 3, 1721, Bach married Anna Magdalena Wilcken, daughter of a trumpeter at Weissenfels. Apart from his first wife’s death, these first four years at Köthen were probably the happiest of Bach’s life. He was on the best terms with the prince, who was genuinely musical; and in 1730 Bach said that he had expected to end his days there. But the prince married on December 11, 1721, and conditions deteriorated. The princess—described by Bach as “an amusa” (that is to say, opposed to the muses)—required so much of her husband’s attention that Bach began to feel neglected. He also had to think of the education of his elder sons, born in 1710 and 1714, and he probably began to think of moving to Leipzig as soon as the cantorate fell vacant with the death of Johann Kuhnau on June 5, 1722. Bach applied in December, but the post—already turned down by Bach’s friend, Georg Philipp Telemann—was offered to another prominent composer of the day, Christoph Graupner, the musical director at Darmstadt. As the latter was not sure that he would be able to accept, Bach gave a trial performance (Cantata No. 22, Jesu nahm zu sich die Zwölfe [Jesus Called unto Him the Twelve]) on February 7, 1723; and, when Graupner withdrew (April 9), Bach was so deeply committed to Leipzig that, although the princess had died on April 4, he applied for permission to leave Köthen. This he obtained on April 13, and on May 13 he was sworn in at Leipzig.
He was appointed honorary musical director at Köthen, and both he and Anna were employed there from time to time until the prince died, on November 19, 1728.
As director of church music for the city of Leipzig, Bach had to supply performers for four churches. At the Peterskirche the choir merely led the hymns. At the Neue Kirche, Nikolaikirche, and Thomaskirche, part singing was required; but Bach himself conducted, and his own church music was performed, only at the last two. His first official performance was on May 30, 1723, the first Sunday after Trinity Sunday, with Cantata No. 75, Die Elenden sollen essen. New works produced during this year include many cantatas and the Magnificat in its first version. The first half of 1724 saw the production of the St. John Passion, which was subsequently revised. The total number of cantatas produced during this ecclesiastical year was about 62, of which about 39 were new works.
On June 11, 1724, the first Sunday after Trinity, Bach began a fresh annual cycle of cantatas, and within the year he wrote 52 of the so-called chorale cantatas, formerly supposed to have been composed over the nine-year period 1735–44. The “Sanctus” of the Mass in B Minor was produced at Christmas.
3 days ago · If you are still perplexed by all the Bach family members, refer to this short and handy guide prepared by the WCRB. Below we’ll look at four of Bach’s most famous sons: Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friederich, and Johann Christian. We will also look at a fictional son, P.D.Q. Bach—the creation of American ...
From his compositions and children to the pronunciation of his name, here’s everything you need to know about the great composer Johann Sebastian Bach.
Apr 3, 2014 · Bach stayed with his brother's family until he was 15. Bach had a beautiful soprano singing voice, which helped him land a place at a school in Lüneburg.
May 8, 2023 · Johann Sebastian Bach was born on 21 March 1685 in Eisenach in Thuringia, central Germany. The house where it is thought he lived as a child is in the Rittergasse, today a museum dedicated to the composer.
May 29, 2018 · The Bach family lived from the early 16th cent. in the Thuringian duchies of Saxe-Weimar-Eisenach, Saxe-Coburg-Gotha, and Saxe-Meiningen and the principality of Schwarzburg-Arnstadt. Their profession was mus.—there are records that 53 Bachs held posts as organists, cantors, or town musicians over a span of 300 years. J. S.
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