List of Bach's major works. The most famous work of Johann Sebastian Bach 1 piece of Bach
Toccata and Fugue in D Minor (BWV 565) is Johann Sebastian Bach's signature piece and one of the most powerful organ works ever composed.
Johann Sebastian Bach (1685-1750) is an outstanding German composer, virtuoso organist, who created over 1000 works during his life.
Bach's work represents all the significant genres of that time, except opera. Bach is a famous master of polyphony, a successor of ancient traditions, in whose work polyphony reaches its peak.
Today, each of the famous works is assigned a BWV number (abbreviated from Bach Werke Verzeichnis - a catalog of works by Johann Sebastian Bach). Bach wrote music for various instruments, both sacred and secular. Some of Bach's works are adaptations of works by other composers, and some are revised versions of their own works.
Church organist
In January 1703, after completing his studies, he received the position of court musician to the Weimar Duke Johann Ernst. During his seven months of service in Weimar, Bach's fame as a magnificent performer spread. Bach was invited to the position of organ caretaker at the Church of St. Boniface in Arnstadt, located 180 km from Weimar.
In August 1703, Bach took over as organist of the church. He had to work three days a week, the salary was relatively high. In addition, the instrument was maintained in good condition and was tuned according to a new system that expanded the capabilities of the composer and performer. During this period, Bach created many organ works.
In 1706, Bach decides to change his job. He was offered a more lucrative and higher position as organist at the Church of St. Blaise in Mühlhausen, a large city in the north of the country. In 1707, Bach accepted this offer, taking the place of organist Johann Georg Ale. His salary was increased compared to the previous one, and the standard of the singers was better.
Toccata and Fugue in D minor (BWV 565)
Toccata and Fugue in D minor (BWV 565) is a work for organ by Johann Sebastian Bach, one of his most popular works.
The work is believed to have been written by Bach during his stay in Arnstadt between 1703 and 1707.
The peculiarity of this small polyphonic cycle is the continuity of development of the musical material (without a break between the toccata and fugue). The form consists of three parts: toccata, fugue and coda. The latter, echoing the toccata, forms a thematic arch.
Toccata
The toccata begins with a clearly visible mordent, which is repeated an octave lower. The toccata consists of episodes contrasting in tempo and texture, ending with cadences.
Beginning with allegro, the toccata ends in adagio tempo on the third degree of D minor (F), which adds incompleteness and makes it clear that this is not the finale.
Fugue
The fugue theme is written using the technique of hidden polyphony. Further imitative development of the work is based on melodic figurations. The interlude and middle movement deviate into the parallel key of F major. The reprise, returning the fugue to D minor, begins with a stretta.
The coda consists of several “improvisational” contrasting episodes (the development technique is borrowed from the toccata). The entire work ends with a plagal cadence.
Arrangements
There are many arrangements of toccata and fugue. In particular, for piano, guitar, electric guitar, button accordion, strings, jazz orchestra and other performing ensembles. A cappella arrangements are also known.
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Biography
Johann Sebastian Bach is a great German composer of the 18th century. More than two hundred and fifty years have passed since Bach's death, and interest in his music is growing. During his lifetime, the composer did not receive deserved recognition as a writer, but was known as a performer and, especially, as an improviser.Interest in Bach's music arose almost a hundred years after his death: in 1829, under the baton of the German composer Mendelssohn, Bach's greatest work, the St. Matthew Passion, was publicly performed. For the first time - in Germany - a complete collection of Bach's works was published. And musicians all over the world play Bach’s music, marveling at its beauty and inspiration, skill and perfection. “Not a stream! “The sea should be his name,” the great Beethoven said about Bach.
Bach's ancestors have long been famous for their musicality. It is known that the composer’s great-great-grandfather, a baker by profession, played the zither. Flutists, trumpeters, organists, and violinists came from the Bach family. Eventually, every musician in Germany began to be called Bach and every Bach a musician.
Johann Sebastian Bach was born in 1685 in the small German town of Eisenach. He received his first violin skills from his father, a violinist and city musician. The boy had an excellent voice (soprano) and sang in the city school choir. No one doubted his future profession: little Bach was to become a musician. The nine-year-old child was left an orphan. His elder brother, who served as a church organist in the city of Ohrdruf, became his teacher. The brother sent the boy to the gymnasium and continued to teach music. But he was an insensitive musician. Classes were monotonous and boring. For an inquisitive ten-year-old boy, it was painful. Therefore, he strived for self-education. Having learned that his brother kept a notebook with works of famous composers in a locked closet, the boy secretly took out this notebook at night and copied notes in the moonlight. This tedious work lasted for six months and severely damaged the future composer’s vision. And imagine the child’s disappointment when his brother caught him one day doing this and took away the already copied notes.
At the age of fifteen, Johann Sebastian decided to start an independent life and moved to Lüneburg. In 1703, he graduated from high school and received the right to enter the university. But Bach did not have to use this right, since he needed to earn a living.
During his life, Bach moved from city to city several times, changing his place of work. Almost every time the reason turned out to be the same - unsatisfactory working conditions, a humiliating, dependent position. But no matter how unfavorable the situation was, the desire for new knowledge and improvement never left him. With tireless energy he constantly studied the music of not only German, but also Italian and French composers. Bach did not miss the opportunity to personally meet outstanding musicians and study their manner of performance. One day, having no money for the trip, young Bach went to another city on foot to listen to the famous organist Buxtehude play.
The composer also unswervingly defended his attitude to creativity, his views on music. Contrary to the admiration of court society for foreign music, Bach studied with special love and widely used German folk songs and dances in his works. Having an excellent knowledge of the music of composers from other countries, he did not blindly imitate them. Extensive and deep knowledge helped him improve and polish his compositional skills.
Sebastian Bach's talent was not limited to this area. He was the best organ and harpsichord player among his contemporaries. And if Bach did not receive recognition as a composer during his lifetime, his skill in improvisations at the organ was unsurpassed. Even his rivals were forced to admit this.
They say that Bach was invited to Dresden to participate in a competition with the then famous French organist and harpsichordist Louis Marchand. The day before, a preliminary acquaintance of the musicians took place; both of them played the harpsichord. That same night, Marchand hastily left, thereby recognizing Bach's undeniable superiority. Another time, in the city of Kassel, Bach amazed his listeners by performing a solo on the organ pedal. Such success did not go to Bach’s head; he always remained a very modest and hardworking person. When asked how he achieved such perfection, the composer replied: “I had to study hard, whoever is just as diligent will achieve the same.”
From 1708 Bach settled in Weimar. Here he served as court musician and city organist. During the Weimar period, the composer created his best organ works. Among them are the famous Toccata and Fugue in D minor, the famous Passacaglia in C minor. These works are significant and deep in content, grandiose in scale.
In 1717, Bach and his family moved to Köthen. There was no organ at the court of the Prince of Köthen, where he was invited. Bach wrote mainly keyboard and orchestral music. The composer's duties included leading a small orchestra, accompanying the prince's singing and entertaining him by playing the harpsichord. Coping with his responsibilities without difficulty, Bach devoted all his free time to creativity. The works for clavier created at this time represent the second peak in his work after organ works. In Köthen, two- and three-voice inventions were written (Bach called three-voice inventions “sinphonies”). The composer intended these plays for classes with his eldest son, Wilhelm Friedemann. Pedagogical goals also guided Bach when creating the “French” and “English” suites. In Köthen, Bach also completed 24 preludes and fugues, which made up the first volume of a large work entitled “The Well-Tempered Clavier.” During the same period, the famous “Chromatic Fantasy and Fugue” in D minor was written.
In our time, Bach's inventions and suites have become mandatory pieces in the programs of music schools, and the preludes and fugues of the Well-Tempered Clavier - in schools and conservatories. Intended by the composer for pedagogical purposes, these works are also of interest to a mature musician. Therefore, Bach’s pieces for the clavier, from the relatively easy inventions to the most complex “Chromatic Fantasy and Fugue,” can be heard at concerts and on the radio performed by the best pianists in the world.
From Köthen in 1723, Bach moved to Leipzig, where he remained until the end of his life. Here he took the position of cantor (choir director) of the singing school at the Church of St. Thomas. Bach was obliged to serve the main churches of the city with the help of the school and be responsible for the condition and quality of church music. He had to accept embarrassing conditions for himself. Along with the duties of a teacher, educator and composer, there were also the following instructions: “Do not leave the city without the permission of the burgomaster.” As before, his creative possibilities were limited. Bach had to compose music for the church that would “not be too long, and also ... opera-like, but that would arouse reverence in the listeners.” But Bach, as always, sacrificing a lot, never gave up the main thing - his artistic convictions. Throughout his life, he created works that were amazing in their deep content and inner richness.
So it was this time. In Leipzig, Bach created his best vocal and instrumental compositions: most of the cantatas (in total, Bach wrote about 250 cantatas), “The St. John Passion,” “The St. Matthew Passion,” and the Mass in B minor. “Passion”, or “passions” according to John and Matthew, is a narrative about the suffering and death of Jesus Christ as described by the evangelists John and Matthew. The Mass is close in content to the Passion. In the past, both the Mass and the Passion were choral hymns in the Catholic Church. For Bach, these works go far beyond the scope of church services. Bach's Mass and Passion are monumental works of a concert nature. They are performed by soloists, choir, orchestra, and organ. In terms of their artistic significance, the cantatas, “Passion” and Mass represent the third, highest peak of the composer’s work.
The church authorities were clearly dissatisfied with Bach's music. As in previous years, they found her too bright, colorful, and humane. And indeed, Bach’s music did not respond to, but rather contradicted, the strict church environment, the mood of detachment from everything earthly. Along with major vocal and instrumental works, Bach continued to write music for the clavier. Almost at the same time as the Mass, the famous “Italian Concerto” was written. Bach later completed the second volume of The Well-Tempered Clavier, which included 24 new preludes and fugues.
In addition to his enormous creative work and service in the church school, Bach took an active part in the activities of the “Musical College” of the city. It was a society of music lovers that organized concerts of secular rather than church music for city residents. Bach performed with great success in concerts of the Musical College as a soloist and conductor. He wrote many orchestral, clavier and vocal works of a secular nature especially for the society’s concerts.
But Bach's main job - the head of a school of singers - brought him nothing but grief and trouble. The funds allocated by the church for the school were negligible, and the singing boys were hungry and poorly dressed. The level of their musical abilities was also low. Singers were often recruited without regard for Bach's opinion. The school orchestra was more than modest: four trumpets and four violins!
All requests for help for the school, submitted by Bach to the city authorities, remained unheeded. The cantor had to answer for everything.
The only joy was still creativity and family. The grown-up sons - Wilhelm Friedemann, Philip Emmanuel, Johann Christian - turned out to be talented musicians. During their father's lifetime they became famous composers. Anna Magdalena Bach, the composer's second wife, was distinguished by her great musicality. She had excellent hearing and a beautiful, strong soprano voice. Bach's eldest daughter also sang well. Bach composed vocal and instrumental ensembles for his family.
The last years of the composer's life were overshadowed by a serious eye disease. After an unsuccessful operation, Bach became blind. But even then he continued to compose, dictating his works for recording. Bach's death went almost unnoticed by the music community. They soon forgot about him. The fate of Bach's wife and youngest daughter was sad. Anna Magdalena died ten years later in a house of contempt for the poor. The youngest daughter Regina eked out a miserable existence. In the last years of her difficult life, Beethoven helped her. Bach died on July 28, 1750.
He is one of those rare and wonderful people who could record the Divine light.
German composer, organist, who served for many years in the churches of provincial German towns and did not receive true recognition during his lifetime. In Bach's work, for the first time, what became characteristic of German art in subsequent centuries was revealed: the desire for a philosophical generalization of events and, at the same time, a subtle penetration into the world of the human soul.
Johann Sebastian Bach was born in 1685 in the small German town of Eisenach. Bach's ancestors have long been famous for their musicality. It is known that the composer’s great-great-grandfather, a baker by profession, played the zither, a stringed musical instrument vaguely reminiscent of a harp. Flutists, trumpeters, organists, and violinists came from the Bach family. Eventually, every musician in Germany began to be called Bach and every Bach a musician.
The boy received his first skills in playing the violin from his father, a violinist and city musician. Little Bach had an excellent voice (soprano) and sang in the city school choir. No one doubted his future profession: the boy was to become a musician. The nine-year-old child was left an orphan. His elder brother, who served as a church organist in the city of Ohrdruf, became his teacher. The brother sent the boy to the gymnasium and continued to teach music.
Bach's brother had a rather cold attitude towards music: his studies were monotonous and boring and only tormented the inquisitive ten-year-old boy, who was forced to use every opportunity for self-education.
Having discovered that his brother kept a notebook with works of famous composers in a locked closet, the boy secretly took it out at night and copied the notes in the moonlight. This difficult work lasted six months, and the vision of the future composer was severely damaged. Imagine the child’s disappointment when his brother caught him one day doing this and took away the already copied notes!
At the age of fifteen, Johann Sebastian decided to start an independent life - he moved to Lüneburg to study at the local gymnasium. Having completed it in 1703, the young man could have entered the university, but circumstances forced him to worry about his livelihood.
In his lifetime, Bach was forced to move from city to city several times in search of a new place of work. As a rule, he was forced to do this for the same reasons - beggarly pay and a humiliating, dependent position. But, despite the hardships of life, he never abandoned the desire to improve his skills and hone his divine gift. He was attracted by new knowledge - with tireless energy he studied the music of not only German, but also Italian and French composers. He took advantage of every opportunity to make personal acquaintance with outstanding musicians in order to study their manner of performance. It got to the point that one day, eager for such an acquaintance, but not having money for the trip, young Bach went to another city on foot to listen to the famous organist Buxtehude play.
The composer unswervingly defended his views on music and his personal attitude towards creativity. With special love, Bach studied and widely used German folk songs and dances in his works, which ran counter to the admiration of court society for foreign music. The works of foreign composers were carefully studied by him, not at all for the purpose of blind imitation - his extensive and deep knowledge helped him improve and polish his own, original compositional skills.
Bach's compositional genius did not receive recognition during his lifetime. However, the musician's talent manifested itself in another area - he was the best organ and harpsichord performer among his contemporaries. In improvisations at the organ, his skill was unsurpassed, and even his rivals and ill-wishers recognized this.
One day, Bach was invited to Dresden to participate in a competition with Louis Marchand, a French organist and harpsichordist who was making waves in the musical world at that time. However, immediately after the preliminary acquaintance of the musicians, which took place the day before and allowed Marchand to hear Bach performed, the French virtuoso hastily left, thereby recognizing the undeniable superiority of his opponent. Another time, in the city of Kassel, Bach performed a solo on the organ pedal, which delighted and amazed connoisseurs of organ music... Such successes did not turn Bach’s head, he always remained a modest and hardworking person, and when asked how he managed to achieve such perfection , invariably answered: “I had to study hard, whoever is just as diligent will achieve the same.”
In 1708, Bach moved to Weimar, where he received the service of a court musician and the position of city organist. This was the best period of the composer's work - it was in Weimar that Bach created his best organ works. Among them are such grandiose in scale, significant in content works as Toccata and Fugue in D minor and the famous Passacaglia in C minor.
In 1717, Bach was invited to the court of the Prince of Köthen and moved with his family to Köthen. His duties included leading a small orchestra, accompanying the prince's singing and entertaining him by playing the harpsichord. Since it was not very burdensome, Bach coped with the work without difficulty, and devoted all his free time to creativity.
Unfortunately, there was no organ in Köthen, which forced the composer to concentrate mainly on composing keyboard and orchestral music. The works for clavier written at this time represent the second (after organ works) peak in his work. In Köthen, two- and three-voice inventions were created - small fantasy musical pieces (Bach called three-voice inventions “symphonies”). The composer created these pieces specifically for classes with his eldest son, Wilhelm Friedemann. For the same purpose, the “French” and “English” suites were created. In Köthen, Bach completed the first volume of a large work entitled “The Well-Tempered Clavier” - it consisted of 24 preludes and fugues. At the same time, the famous “Chromatic Fantasy and Fugue in D Minor” was born.
In 1723, Bach moved to Leipzig. At the Church of St. Thomas there was a singing school, and here Bach took the position of cantor - director of the choir. However, these were not all of his responsibilities. He also had to provide the school with the help of the musical needs of the main churches of the city and, in addition, be responsible for the condition and quality of church music. In addition, Bach was forced to comply with regulations that restricted his personal freedom. For example, he was forbidden “...to leave the city without the permission of the burgomaster.”
Needless to say, the acceptance of such conditions could not but limit his creative possibilities, especially since even with regard to what to write, he had strict instructions - he was ordered to compose such music for the church that “would not be too long, and also.” .. opera-like, but so that it arouses awe in the listeners.” However, sacrificing a lot, Bach never betrayed what he considered the main thing in life - his convictions as an artist and creator. This is what allowed him throughout his life to create musical works that were amazing in form and grandiose in their inner richness.
So in Leipzig, despite the cramped situation and restrictions imposed on his creative possibilities, Bach managed to create his best vocal and instrumental compositions. It was here that he composed most of the 250 cantatas he created, the St. John Passion, the St. Matthew Passion, and the Mass in B minor. The St. John's Passion and the St. Matthew Passion (or "passions") are musical narratives of the suffering and death of Jesus Christ, corresponding to the accounts of the evangelists John and Matthew. Adjacent to them is the Mass, which is close in content to the Passion. The source of these works were choral chants that were previously heard in the Catholic Church. However, Bach's music goes far beyond the church service. It represents monumental works of a concert nature, performed by soloists, choir, orchestra and organ. The artistic value of the cantatas, the Passion and the Mass is invaluable. This is the third - and highest - peak of the composer's creativity.
As before, Bach's music could not satisfy the church authorities - they found it too bright, colorful and humane. In essence, this is how it was: this music not only did not correspond to pious moods, but even clearly contradicted the atmosphere of severity and renunciation from everything earthly that was instilled by the Catholic Church.
While creating large vocal and instrumental works, Bach also found time to write music for the clavier. The famous “Italian Concerto” was composed almost at the same time as the Mass. Later, Bach completed the second volume of The Well-Tempered Clavier, which included 24 new preludes and fugues.
In Leipzig there was the so-called “Music College” - a society of music lovers, which organized concerts of secular, rather than church music for residents of the city - and in its activities Bach, despite his enormous creative work and official duties in the church school, also took an active part . In the concerts of the Musical College, Bach performed with great success as a soloist and conductor and wrote many orchestral, clavier and vocal works of a secular nature especially for them.
This was probably one of the few outlets in his life. Bach's main work, connected with the management of a school of singers, brought him only grief and trouble. The church allocated meager funds for the school, there was always not enough money, the choir boys were hungry and poorly dressed. The level of their musical abilities also left much to be desired - church authorities often recruited singers without taking into account the opinion of the cantor. It was in vain that Bach appealed to the city authorities, calling for help at least in equipping the orchestra, which numbered only four trumpets and four violins!.. Petitions for help to the school remained unheeded, and the composer had to answer for everything.
The musician continued to find joy in creativity and family. Bach's sons - Wilhelm Friedemann, Philipp Emmanuel, Johann Christian - grew up and turned out to be talented musicians themselves. Bach managed to see how they became famous composers. Anna Magdalena Bach, the composer's second wife, was also extremely musical, possessing a beautiful, strong soprano voice and excellent hearing. Bach's eldest daughter also sang well. For the people closest to him, for his family, Bach composed vocal and instrumental ensembles.
A serious eye disease darkened the last years of the composer's life, and after an unsuccessful operation, Bach became blind. This did not become an obstacle to his creativity - he continued to compose, and the music was recorded by someone close to him under his dictation. In society, Bach's death remained almost unnoticed, and soon he was completely forgotten. The fate of Bach's wife and youngest daughter was sad - ten years later, Anna Magdalena died in a charity home, and daughter Regina eked out a miserable existence. In the last years of her difficult life, Beethoven helped her...
Interest in Bach's music arose almost a hundred years after his death, and the German composer Mendelssohn played a huge role in this: in 1829, under his direction, Bach's greatest work, the St. Matthew Passion, was publicly performed. In Germany, the complete collection of Bach's works was published for the first time. Bach's music is heard all over the world, performed by musicians of various nationalities and schools, and continues to amaze with its skill and perfection, beauty and inspiration. “Not a stream! “The sea should be his name...” the great Beethoven said about Bach.
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Content first archive:
- 01. Concerto brandeburghese n. 1 in fa maggiore BWV 1046_ Allegro.mp3
- 02.Concerto Brandeburghese n. 2 in Fa maggiore BWV 1047 - Allegro.mp3
- 03. Violin Concerto in A minor BWV 1041 - Senza indicazione di tempo.mp3
- 04. Orchestral Suite No. 2 in B minor BWV 1067 - Overture.mp3
- 05. Concerto brandeburghese n. 1 in fa maggiore BWV 1046_ Adagio.mp3
- 06.Concerto Brandeburghese n. 2 in Fa maggiore BWV 1047 - Andante.mp3
- 07. Violin Concerto in A minor BWV 1041 - Andante.mp3
- 08. Orchestral Suite No. 2 in B minor BWV 1067 - Rondo.mp3
- 09. Concerto brandeburghese n. 1 in fa maggiore BWV 1046_ Allegro.mp3
- 10.Concerto Brandeburghese n. 2 in Fa maggiore BWV 1047 - Allegro assai.mp3
- 11. Violin Concerto in A minor BWV 1041 - Allegro.mp3
- 12. Orchestral Suite No. 2 in B minor BWV 1067 - Sarabande.mp3
- 13. Concerto brandeburghese n. 1 in fa maggiore BWV 1046_ Minuetto - Polacca.mp3
- 14.Concerto Brandeburghese n. 4 in Sol maggiore BWV 1049 - Allegro.mp3
- 15. Violin Concerto in E major BWV 1042 - Allegro.mp3
- 16. Orchestral Suite No. 2 in B minor BWV 1067 - Bourre.mp3
- 17. Concerto brandeburghese n. 3 in sol maggiore BWV 1048_ Allegro moderato.mp3
- 18.Concerto Brandeburghese n. 4 in Sol maggiore BWV 1049 - Andante.mp3
- 19. Violin Concerto in E major BWV 1042 - Adagio.mp3
- 20. Orchestral Suite No. 2 in B minor BWV 1067 - Polonaise.mp3
- 21. Concerto brandeburghese n. 3 in sol maggiore BWV 1048_ Adagio.mp3
- 22.Concerto Brandeburghese n. 4 in Sol maggiore BWV 1049 - Presto.mp3
- 23. Violin Concerto in E major BWV 1042 - Allegro assai.mp3
- 24. Orchestral Suite No. 2 in B minor BWV 1067 - Take.mp3
- 25. Concerto brandeburghese n. 3 in sol maggiore BWV 1048_ Allegro.mp3
- 26.Concerto Brandeburghese n. 5 in Re maggiore BWV 1050 - Allegro.mp3
- 27. Concerto for Violin and Oboe in C minor BWV 1060A - Allegro.mp3
- 28. Orchestral Suite No. 2 in B minor BWV 1067 - Minuet.mp3
- 29.Concerto Brandeburghese n. 5 in Re maggiore BWV 1050 - Affettuoso.mp3
- 30. Concerto brandeburghese n. 6 in si bemolle magg. BWV 1051_ Allegro.mp3
- 31. Concerto for Violin and Oboe in C minor BWV 1060A - Adagio.mp3
- 32. Orchestral Suite No. 2 in B minor BWV 1067 - Joke.mp3
- 33.Concerto Brandeburghese n. 5 in Re maggiore BWV 1050 - Allegro.mp3
- 34. Concerto brandeburghese n. 6 in si bemolle magg. BWV 1051_ Adagio ma non.mp3
- 35. Concerto for Violin and Oboe in C minor BWV 1060A - Allegro.mp3
- 36. Prelude and Fugue in C minor BWV 546.mp3
- 37. Concerto brandeburghese n. 6 in si bemolle magg. BWV 1051_ Allegro.mp3
- 38. Concerto for Harpsichord and Strings in E major BWV 1053 - Senza indicazione ....mp3
- 39. Prelude and Fugue in E minor BWV 548.mp3
- 40. Concerto for Harpsichord and Strings in E major BWV 1053 - Siciliana.mp3
- 41. Canonical Variations BWV 769.mp3
- 42. Concerto for Harpsichord and Strings in E major BWV 1053 - Allegro.mp3
Content second archive:
- 01-Friedrich Tilegant & Das Südwestdeutsche Kammerorchester J. S. Bach - Zweites Brandenburgisches Konzert (BWV 1047) - Allegro.mp3
- 02-Friedrich Tilegant & Das Südwestdeutsche Kammerorchester J. S. Bach - Zweites Brandenburgisches Konzert (BWV 1047) - Andante.mp3
- 03-Friedrich Tilegant & Das Südwestdeutsche Kammerorchester J. S. Bach - Zweites Brandenburgisches Konzert (BWV 1047) - Allegro assai.mp3
- 04-Knabenchor & Jugendchor St. Michaelis & Die Hamburger Symphoniker J. S. Bach - Eingangschor aus dem Weihnachts-Oratorium - Jauchzet, frohlocket.mp3
- 05-Norddeutsche Philharmonie J. S. Bach - Orchester-Suite Nr. 3, BWV 1068 - Air.mp3
- 06-Michael Schneider an der Marcussen-Orgel im Dom zu Schleswig J. S. Bach - Dorische Toccata (BWV 538).mp3
- 07-Tibor Varga (Violine) & Kammerorchester Tibor Varga J. S. Bach - Violinkonzert a-moll (BWV 1041) - Allegro.mp3
- 08-Tibor Varga (Violine) & Kammerorchester Tibor Varga J. S. Bach - Violinkonzert a-moll (BWV 1041) - Adagio.mp3
- 09-Tibor Varga (Violine) & Kammerorchester Tibor Varga J. S. Bach - Violinkonzert a-moll (BWV 1041) - Allegro assai.mp3
- 10-Das Wührer-Kammerorchester, Paul Meiser (Flöte) J. S. Bach - Badinerie aus der h-moll-Suite (BWV 1067).mp3
- 11-Friedrich Tilegant & Das Südwestdeutsche Kammerorchester J. S. Bach - Fünftes Brandenburgisches Konzert (BWV 1050) - Allegro.mp3
- 12-Friedrich Tilegant & Das Südwestdeutsche Kammerorchester J. S. Bach - Fünftes Brandenburgisches Konzert (BWV 1050) - Affettuoso.mp3
- 13-Friedrich Tilegant & Das Südwestdeutsche Kammerorchester J. S. Bach - Fünftes Brandenburgisches Konzert (BWV 1050) - Allegro.mp3
Content third archive:
- "Goldberg Variations". Aria.mp3
- "Goldberg Variations". Variation 1.mp3
- "Goldberg Variations". Variation 2.mp3
- "Little Suite" from "The Music Book" by Anna Magdalena Bach.mp3
- "Symphony" from Christmas Oratorio.mp3
- Air from Suite No.3.mp3
- Badinerie from Suite No.2.mp3
- Brandenburg Concerto No.1 In F Major, BWV 1046 - Adagio.mp3
- Brandenburg Concerto No.1 In F Major, BWV 1046 - Allegro.mp3
- Brandenburg Concerto No.1 In F Major, BWV 1046 - Allegro Moderato.mp3
- Brandenburg Concerto No.1 In F Major, BWV 1046 - Menuetto, Trio Polacca.mp3
- Brandenburg Concerto No.2 In F Major, BWV 1047 - Allegro Assai.mp3
- Brandenburg Concerto No.2 In F Major, BWV 1047 - Allegro Moderato.mp3
- Brandenburg Concerto No.2 In F Major, BWV 1047 - Andante.mp3
- Brandenburg Concerto No.3 In G Major, BWV 1048 - Allegro.mp3
- Brandenburg Concerto No.3 In G Major, BWV 1048 - Allegro Moderato - Adagio.mp3
- Double Concerto in D Minor, BWV 1043 - Largo.mp3
- Double Violin Concerto In D Minor, BWV 1043, Vivace.mp3
- Jauchzet, frohlocket from Christmas Oratorio.mp3
- Jesu bleibet meine Freude from Herz und Mund und Tat und Leben.mp3
- Orchestral suite no.2, in b minor, bwv1067, badinerie.mp3
- Organ Concerto In D Minor, BWV 596 (After Vivaldi).mp3
- Piano Concerto in F Minor - Largo.mp3
- Toccata & Fugue In D Minor, BWV 565.mp3
- Toccata And Fugue, In D Minor, BWV 565.mp3
- Toccata from Toccata and Fugue in D Minor.mp3
- Violin Concerto in E Major, BWV 1042 - Adagio.mp3
- Wir setzen uns mit Tranen nieder from St Matthew Passion.mp3
- Brandenburg Concerto No. 1 in F major, BWV 1046. 1. Allegro .mp3
- Brandenburg Concerto No. 1 in F major, BWV 1046. 2. Adagio.mp3
- Brandenburg Concerto No. 1 in F major, BWV 1046. 3. Allegro.mp3
- Brandenburg Concerto No. 1 in F major, BWV 1046. 4. Minuet.mp3
- Brandenburg Concerto No. 2 in F major, BWV 1047. 1. Allegro.mp3
- Brandenburg Concerto No. 2 in F major, BWV 1047. 2. Andante.mp3
- Brandenburg Concerto No. 2 in F major, BWV 1047. 3. Allegro assai.mp3
- Brandenburg Concerto No. 3 in G major, BWV 1048. 1. Allegro.mp3
- Brandenburg Concerto No. 3 in G major, BWV 1048. 2. Adagio.mp3
- Brandenburg Concerto No. 3 in G major, BWV 1048. 3. Allegro.mp3
- Brandenburg Concerto No. 4 in G major, BWV 1049. 1. Allegro.mp3
- Brandenburg Concerto No. 4 in G major, BWV 1049. 2. Andante.mp3
- Brandenburg Concerto No. 4 in G major, BWV 1049. 3. Presto.mp3
- Brandenburg Concerto No. 5 in D major, BWV 1050. 1. Allegro.mp3
- Brandenburg Concerto No. 5 in D major, BWV 1050. 2. Affettuoso.mp3
- Brandenburg Concerto No. 5 in D major, BWV 1050. 3. Allegro.mp3
- Brandenburg Concerto No. 6 in B flat minor, BWV 1051. 1. Allegro.mp3
- Brandenburg Concerto No. 6 in B flat minor, BWV 1051. 2. Adagio non tanto.mp3
- Brandenburg Concerto No. 6 in B flat minor, BWV 1051. 3. Allegro.mp3
- J.S.Bach-C.Gounod- Ave Maria.mp3
- Italian Concerto, BWV 971. 1. Allegro.mp3
- Orchestral Suite No. 2, B minor, BWV 1067. 1. Overture.mp3
- Orchestral Suite No. 2, B minor, BWV 1067. 2. Rondo.mp3
- Orchestral Suite No. 2, B minor, BWV 1067. 3. Sarabande.mp3
- Orchestral Suite No. 2, B minor, BWV 1067. 4. Bourre.mp3
- Orchestral Suite No. 2, B minor, BWV 1067. 5. Polonaise.mp3
- Orchestral Suite No. 2, B minor, BWV 1067. 6. Minuet.mp3
- Orchestral Suite No. 2, B minor, BWV 1067. 7. Joke.mp3
- Orchestral Suite No. 3, D major, BWV 1068. 1. Overture.mp3
- Orchestral Suite No. 3, D major, BWV 1068. 2. Aria.mp3
- Orchestral Suite No. 3, D major, BWV 1068. 3. Gavotte.mp3
- Orchestral Suite No. 3, D major, BWV 1068. 4. Bourre.mp3
- Orchestral Suite No. 3, D major, BWV 1068. 5. Giga.mp3
- Prelude and Fugue in B flat major, BWV 560.mp3
- Tocatta and Fugue in D minor, BWV 565.mp3
- Fantasia and Fugue in G minor.mp3
- Chorale ""O Mensch, bewein dein Sunde gross"", BWV 622.mp3
- Chorale from "St. Matthew Passion".mp3
- Chorale from cantata No. 147, BWV 147.mp3
- Choral Prelude "Erbarm" dich mein, O Herre Gott", BWV 751.mp3
- Chorale Prelude ""Ich ruf zu dir Herr Jesu Christ"", BWV 639.mp3
- Chorale Prelude "Jesu Christus, unser Heiland", BWV 688.mp3
- Choral Prelude ""Wachet auf, ruft uns die Stimme"", BWV 645.mp3
- Choir from "Magnificat", BWV 243.mp3
- Choir from cantata No. 80, BWV 80.mp3
Toccata and Fugue in D minor, BWV 565 is a work for organ by Johann Sebastian Bach, one of his most popular works.
The work "Toccata and Fugue in D minor BWV 565" is included in all editions of the authoritative BWV catalog and in the (most complete) new edition of Bach's works (Neue Bach-Ausgabe, known as NBA).
The work was supposedly written by Bach during his stay in Arnstadt between 1703 and 1707. In January 1703, after completing his studies, he received the position of court musician to the Weimar Duke Johann Ernst. It is not known exactly what his duties included, but most likely this position was not related to performing activities. During his seven months of service in Weimar, his fame as a performer spread. Bach was invited to the position of organ caretaker at the Church of St. Boniface in Arnstadt, located 180 km from Weimar. The Bach family had long-standing ties to this oldest German city.
In August, Bach took over as organist of the church. He had to work three days a week, and the salary was relatively high. In addition, the instrument was maintained in good condition and was tuned according to a new system that expanded the capabilities of the composer and performer. During this period, Bach created many organ works.
The peculiarity of this small polyphonic cycle is the continuity of development of the musical material (without a break between the toccata and fugue). The form consists of three parts: toccata, fugue and coda. The latter, echoing the toccata, forms a thematic arch.
Title page of BWV 565 in a handwritten copy by Johannes Ringk. Due to the fact that Bach's autograph was lost, this copy, as of 2012, is the only source close to the time of creation.
Toccata (in Italian toccata - touch, blow, from toccare - touch, touch) is a virtuoso musical piece for keyboard instruments (clavier, organ).
Beginning of the toccata
Fugue (Italian fuga - running, flight, fast flow) is the most developed form of polyphonic music, which has absorbed all the richness of polyphonic means. The content range of a fugue is practically unlimited, but the intellectual element predominates or is always felt in it. Fugue is distinguished by emotional fullness and at the same time restraint of expression.
This work begins with an alarming but courageous strong-willed cry. It sounds three times, descending from one octave to another, and leads to a thunderous chordal boom in the lower register. Thus, at the beginning of the toccata, a gloomily shaded, grandiose sound space is outlined.
Johann Sebastian Bach's Toccata and Fugue in D Minor BWV 565 played by organist Hans-André Stamm on the Trost-Organ of the Stadtkirche in Waltershausen, Germany.
Then powerful “swirling” virtuosic passages are heard. The contrast between fast and slow movement is reminiscent of cautious respites between fights with the violent elements. And after the freely, improvisationally constructed toccata, a fugue sounds, in which the volitional principle seems to curb elemental forces. And the last bars of the entire work are perceived as a stern and majestic victory of the unyielding human will.
for choir and voices and orchestra
Passion according to Luke (1712, authenticity disputed)St. John Passion (Johannespaesion, libretto by B. Brockes and J. S. Bach, 1722-23)
St. Matthew Passion (Matthauspassion, libretto by Picander, performed 1729, 2nd edition - 1736, 3rd - 1739, 4th - 1744)
Passion according to Mark (Markuspassion, libretto by him, 1731, score lost)
Magnificat (Magnificat, 1723)
oratorios
Christmas Oratorio (Weihnachtsoratorium, 1734)Easter Oratorio (Oster-Oratorium, 1734-36)
Oratorio on the Ascension of Christ (Himmelfahrts-Oratorium)
masses
Mass h-minor (High Mass, 1733)4 short masses (F-dur, A-dur, g-moll, G-dur, around 1737)
spiritual cantatas
199 cantatas have survived, including:No. 71 - Lord, he is my heavenly king (Gott ist mein Konig, the so-called Elective Cantata, 1708)
No. 4 - Christ lay in the chains of death (Christ lag in Todesban-den. 1708)
No. 106-Tragic Cantata (Actus Tragicus, 1711)
No. 12 - Tears, sighs, trembling, grief (Weinen, Klagen, Sorgen, Zagen, 1714)
No. 21-I have suffered a lot of grief (Ich hatte viel Bekummernis, 1714)
No. 80 - The Lord is my stronghold (Ein"feste Burg ist unser Gott, 1730)
No. 27 - Who knows his last hour (Wer weiss, wie nahe mir mein Ende, 1730-1740)
No. 49 - I go and search passionately (Ich geh" und suche mit Verlangen, 1730-1740)
No. 52 - False world, I don’t believe you (Falsche Welt, dir trau" ich nicht, 1730-1740)
No. 156 - I stand with one foot in the grave (Ich steh "mit einem Fuss im Grabe, 1730-1740)
No. 39 - Share your bread with the hungry (Brich mit dem Hungrigen dein Brot, 1732)
No. 36 - Rise joyfully on high (Schwingt treudig euch empor, 1732)
No. 1 - How brightly the morning star shines (Wie schon leuchtet der Morgenstern, 1735-1744)
secular cantatas
No. 208 - The hunt alone invigorates me (Was mir behagt ist nur die muntre Jagd, Hunting Cantata, words by S. Frank, 1716)No. 173-a - His Serene Highness Leopold (Durch-Iaucht"ster Leopold, 1717)
No. 205 - The Peaceful Aeolus (Der zulriedengestellte Aeolus, 1725)
No. 207- Discord defeated by changeable strings (Vereinigte Zwietracht der wechselnden Saiten, performed 11 XII 1726)
No. 36-a-Let desires ascend high (Steigt treudig in die Luft, fulfilled 30 IX 1726)
No. 193-a - You, heavenly palaces, you, shining luminaries (Ihr, Hauser des Himmels, ihr, scheinenden Lichter, Spanish 3 VIII 1727)
No. 202 - You will retreat, sad shadows (Weichet nur, betrubte Schatten, wedding cantata, 1725, published 1727)
No. 205 - I am having fun (cantata about a life of contentment, Ich bin in mir vergnugt, Kantate von der Vergnugsamkeit, performed before 1728)
No. 216 - The Blessed City on the Place (Vergnugte Pleissenstadt, executed 5 II 1728)
No. 201- The Contest between Phoebus and Pan (Der Streit zwischen Phoebus und Pan, libretto by Picander based on a plot from Ovid’s Metamorphoses, 1731)
No. 211- Let the chatter be silent (Schweigt stille, plaudert nicht. Coffee cantata, words No. 1-8 by Picander No. 9-10 I. S. B., performed 1732)
No. 206 - Glide, playful waves (Schleichet, spielende Wellen, 1733)
No. 213 - Hercules at the Crossroads (Hercules aut dem Scheideweg, performed 5 IX 1733)
No. 214- Sound, timpani, and trumpets, trumpet (Tonet, ihr, Pauken, erschallet, Trompeten, 1733)
No. 215 - Glory to your happiness, blessed Saxony (Preise dein Glucke, geseg-netes Sachsen, words by I. Klauder, 1734)
No. 205-a - Make noise, enemies (Blast, Larmen, Ihr Feinde, performed 17 I 1734)
No. 207-a - Rise up, merry trumpets, thundering sounds (Auf, schmetternde Tone der muntern Trompeten, performed 3 VIII 1734)
No. 210- O wonderful day, desired age (O, holder Tag, erwunschte Zeit, circa 1734-1735)
No. 212 - We have a new boss (Meg hahn en neue Oberkeet, Peasant Cantata, words by Picander, 1742)
for orchestra
6 Brandenburg Concertos (1721)5 overture suites (circa 1721, 1729-30)
symphony (arrangement of the Brandenburg Concerto No. 1, circa 1730)
concertos for instruments and orchestra
for violin and orchestra (a-moll, E-dur, circa 1721; g-moll, D-dur excerpt; d-moll, circa 1721)7 for harpsichord and orchestra (d-moll, E-dur, D-dur, A-dur, f-moll, F-dur, g-moll, between 1730 and 1733)
3 concertos for 2 harpsichords and orchestra (C minor, C major, between 1727 and 1730; C minor, around 1730)
2 concertos for 3 harpsichords and orchestra (D minor, C major, between 1730 and 1733)
concert for 4 harpsichords and orchestra (a-moll, arrangement of A. Vivaldi's concerto for 4 violins and orchestra between 1730-1733)
concert for flute, violin, harpsichord and orchestra (a minor, - the so-called triple concerto - Trippelkonzert, after 1730)
chamber ensembles
6 sonatas for harpsichord and violinSuite for harpsichord and violin
3 sonatas for harpsichord and viola da gamba (or cello)
3 sonatas for harpsichord and flute
4 sonatas (“inventions”) for violin and cymbal
3 sonatas for flute with digital bass
trio sonatas:
for 2 violins with digital bassfor 2 violins and cymbal
for flute and violin with digital bass
for 2 flutes with digital bass
for organ
6 organ concerts (1717)18 preludes and fugues (1700-17, 1723-39)
3 fantasies and fugues (1700-08), 5 toccatas with fugues (1700-08)
3 preludes (1700-08)
8 small preludes and fugues (1708-17)
fugues (c-moll, G-dur, 1700-08; c-moll on a theme by G. Legrenzi, g-moll, h-moll on a theme by A. Corelli, 1708-09; c-moll, 1716)
fantasy (H-moll, C-dur, H-moll con imitazione, C-dur unfinished, 1700-1717)
passacaglia (1716-17)
pastoral (1703-07)
canzone (1709)
Allabreve (circa 1709)
pedal exercise (Pedal-Exercitium, 1700-03)
46 chorale preludes (included in the Organ Book - Og-gelbuchlein, for Wilhelm Friedemann Bach, circa 1717)
6 chorales, the so-called Schubler chorales (between 1746-50)
18 chorales, the so-called Leipzig chorales (the last one - the dying one - I will appear before your throne - Vor deinen Thron trct "ich hiermit, 1747-50)
5 canonical variations on the theme "From the Heights of Heaven" ("Vom Himmel hoch da komm ich her", 1746-47)
7 chorale variations on the theme "Christ, thou art as bright as day" ("Christ, der du bist der helle Tag", circa 1700)
9 chorale variations on the theme "O God, thou holy God" ("O Gott, du frommer Gott", circa 1700)
11 chorale variations on the theme "Hail, dear Jesus" ("Sei gegrusset, Jesu gutig", around 1700 and later)
17 variations on the theme "Praise be to one god in heaven" ("Allein Gott in der Hoh"sei Ehr"", circa 1705)
for harpsichord
20 little preludes (1717-23)4 preludes and fuguettas (1700-08)
3 preludes and fugues (1700-08, 1717-23, after 1723)
6 Preludes for Beginners (1717-23)
2 preludes-fantasies (1700-08)
15 two-voice inventions
15 three-part symphonies-inventions (1700-23)
Capriccio in honor of Johann Christoph Bach (circa 1704)
Capriccio on the departure of a beloved brother (Capriccio sopra la lontananza del suo fratello dilettissimo, 1704)
fughetta c-moll (1700-08)
2 fantasies and fugues (1717-23, after 1723)
fantasy with unfinished fugue in C major (circa 1708)
2 fantasies (1700-17)
fantasy-rondo c-moll (1700-08)
fantasy-prelude (a minor, 1708-17)
Chromatic Fantasia and Fugue (a minor, 1720-23)
8 fugues (1700-17)
2 fugues on a theme by Albinoni (1708-17)
7 toccatas (1700-07, 1720)
2 sonatas (1700-09)
aria with variations in the Italian manner (Aria variata alla maniera italiana, A-moll, circa 1709)
suite (g-moll, 1700-03)
3 suites (1708-17)
Suite in F minor (unfinished, 1717-23)
6 French suites (the first 5 suites were included in the 1st music book of Anna Magdalena Bach, 1722)
6 English Suites (1720-22)
Adagio (circa 1720)
Well-Tempered Clavier (1st movement, 24 preludes and fugues, 1722; 2nd movement, 24 preludes and fugues, 1744)
6 parts (1726-30), Italian Concerto in F major (French overture, 1735)
Aria with 30 variations (Goldberg Variations, 1742)
2 notebooks of Anna Magdalena Bach (Notenbuchlein fur Anna Magdalena Bach, 1st notebook, 1722, 2nd notebook, 1725)
Keyboard book (Klavierbuchlein) by Wilhelm Friedemann Bach (1720-23)
The Art of Fugue (1749-50)