Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a … Read Full Bio ↴Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and vocal music 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 of all time.
The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. Having become an orphan at age 10, he lived for five years with his eldest brother, after which he continued his musical formation in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar—where he expanded his repertoire for the organ—and Köthen—where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened in some of his earlier positions, he had a difficult relation with his employer, a situation that was little remedied when he was granted the title of court composer by the Elector of Saxony and King of Poland in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750.
Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, 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 the genres of 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 major 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 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 for instance the Air on the G String, and of recordings, for instance three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death.
The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. Having become an orphan at age 10, he lived for five years with his eldest brother, after which he continued his musical formation in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar—where he expanded his repertoire for the organ—and Köthen—where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened in some of his earlier positions, he had a difficult relation with his employer, a situation that was little remedied when he was granted the title of court composer by the Elector of Saxony and King of Poland in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750.
Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, 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 the genres of 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 major 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 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 for instance the Air on the G String, and of recordings, for instance three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death.
Concerto n°5 en Ré majeur BWV 1050: III. Allegro
Johann Sebastian Bach Lyrics
We have lyrics for these tracks by Johann Sebastian Bach:
Air Erbarme dich, mein Gott, um meiner Zähren willen! Schaue h…
Air on a G String C21 Miscellaneous Hanging on a String I can't sleep I'm inco…
Ave Maria Ave Maria (De Bach e Gounod) Ave Maria Gratia plena Domin…
Cantata "Christ lag in Todesbanden" BWV 4: 6. Versus 5: "Hier ist das rechte Osterlamm" Стой! Пока ещё не выключен свет Я хочу услышать ответ Скажи,…
Cantata "Du Hirte Israel höre" BWV 104: 1. Chor: Du Hirte Israel höre Стой! Пока ещё не выключен свет Я хочу услышать ответ Скажи,…
Cantata "Du Hirte Israel höre" BWV 104: 5. Arie: Beglückte Herde Jesu Schafe Стой! Пока ещё не выключен свет Я хочу услышать ответ Скажи,…
Cantata 147: Jesus bleibet meine Freude Jesus bleibet meine Freude Meines Herzens Trost und Saft Ju…
Choral: Herzliebster Jesu was hast du verbrochen I and II Herzliebster Jesu, was hast du verbrochen, Daß man …
Choral: Herzliebster Jesu, was hast du verbrochen I and II Herzliebster Jesu, was hast du verbrochen, Daß man …
Herz und Mund und Tat und Leben Herz und Mund und Tat und Leben Muss von Christo Zeugnis…
Jesu bleibet meine Freude Jesus bleibet meine Freude Meines Herzens Trost und Saft Ju…
Jesu Joy Of Man's Desiring Jesus, joy of man's desiring Holy wisdom, love most bright D…
Jesu meine Freude Jesus bleibet meine Freude Meines Herzens Trost und Saft Ju…
Jesu, Joy of Man's Desiring Jesus, joy of man's desiring Holy wisdom, love most bright D…
Jesus bleibet meine freud Jesus bleibet meine Freude Meines Herzens Trost und Saft Ju…
Jesus bleibet meine Freude Jesus bleibet meine Freude Meines Herzens Trost und Saft J…
Largo BWV 1056 Hope, can be misleading Just like the boy who falls in…
Mass in B minor BWV 232: I. Kyrie: Kyrie eleison Kyrie Eleison Kyrie Eleison Kyrie Eleison Kyrie Eleison Kyri…
主よ、人の望みの喜びよ (教会カンタータより) イエスこそ私たちが望む喜びの根源 聖なる知恵、もっとも輝かしい愛 あなたに引き寄せられた私たちの魂は 始原の光へ導かれる…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Caitlin White
Examples of Baroque Concerto Techniques as found in Bach's Brandenburg Concert No. 5 in D Major, BWV 1050
Movement 1/Allegro:
0:14 9 measure ritornello stated by the tutti
4:51 Return of the ritornello
7:50 Virtuosic treatment of harpsichord in 65 measure unaccompanied cadenza
Movement 2/Affettuoso:
10:18 Typical trio treatment of theme by passing between flute and violin with harpsichord accompaniment
12:00 Harpsichord takes the lead with presenting the melody
Movement 3/Allegro
17:25 Harpsichord as soloist with orchestra as accompaniment
19:23 Ending
Gaston Van den Broeck
Quelle musique! Quel génie du compositeur et quelle maîtrise de
l' orchestre. Pourvu que ce chef-d'oeuvre et tant d' autres, destinés
à l'éternité, puissent survivre à cette époque marquée plus par le bruit
que par l' art de ses créations. Propos d'un vieux de presque 66 ans
ou jugement cruel, mais véridique(?) à propos d'un siècle où la camelote
et le commerce l'emportent sur les valeurs de la qualité. Qu'en sera-t-il
au 22ème siècle? Bach, Mozart, van Beethoven et tutti quanti seront-ils
à tout jamais enterrés? L'on peut toujours espérer. 'Nulli desperandum
tamdiu vivit.
EuroArtsChannel
Compare the interpretations of the Freiburg Baroque Orchestra to the ones of Orchestra Mozart under the direction of Claudio Abbado. Which do you like better?
https://www.youtube.com/playlist?list=PLBjoEdEVMABJhjc66cvtxhvEaTjEC3hkz
CarloAntonio10
EuroArtsChannel It's not close. This group's interpretation of the Brandenburg Concertos are by far better than all the other interpretations I have heard.
Alexander Covelli
I really think all Baroque orchestras should play at A415hz like Freiburg.
Eric Astier
+EuroArtsChannel Both ensembles are more than accomplished professionals and deserve high praise. But here is my comparison : The Freiburg Orchestra is playing in a better acoustics room. The floor they play on extends all around them that carries the sound and it diffuses and mellows the sound in a pleasing way. The strings have a beautiful sound. The interpretation is more orchestral than chamber for the Mozart Orchestra with the right amount of excitement that it does not tenses this heavenly music too much. That is about all the good I have to say about this Freiburg performance. You might have guessed but i prefer the Orchestra Mozart interpretation. They have soul and move the music with moving and amazing accuracy. The Mozart Orchestras flutist performance is sublime absolutely. The first violinist is very refined virtuoso that is entirely in the music. The harspischordist is also of the highest caliber as a musician and delivers a transparent Bach to us without the bad rubato seen in the Freiburg harpsichordist and delivers all the note distinctly whereas i can tell you the Freiburg one does not, his fingers dont lift fast enough and he mars a lot of fast passages to the point that the musical intention is blunted. But mostly he is not even keeping a steady tempo when he should. It's beyond what is acceptable and irritated me slightly. As far as the overall interpreation the freiburg orchestra does a good job with nuances and conducting maybe better than the Mozart orchestra that has too many individual talents.
A Jalapeño
+EuroArtsChannel Orchestra of Mozart is better overall and the tempo is better. The solo violinist at least tries to assert himself more. Although I like Dantone, Freiburg harpsichordist's cadenza is WAY more stylish. I don't understand people who play that cadenza with a stiff tempo which reminds me of the dinosaur era of Bach harpsichord playing (1900-1970s).
Winston Elston
+EuroArtsChannel Although there is no definitive way to compare this with performance practices of Bach's time (and this was locked away and forgotten in a mayonnaise jar on Funk and Wagnall's porch and never performed for how long was it after Bach presented it to the Margrave of Brandenburg and all involved had died?) I would have to give Freiberg the nod. There is an enthusiasm here that is lacking in other performances.
Shrinidhi Prakash
It's amazing how that harpsichord solo can be interpreted so many different ways and always sound miraculous.
-Behringer here plays it lightly and gracefully.
-Perahia takes a similar approach to Behringer, but has the benefit of a piano's clarity.
-Karl Richter played it like heavy metal music.
-Gould played it with a trance-like intensity.
Anoona
Thank you for this comment! Now I can’t wait to go listen to all those other performances!!
Cellod98
That harpsichordist is freaking awesome
timefortea
Yes it so is! That Cadenza looks very hard to play!