Holograph manuscript, Editor Fabio M. Editor Gabriel Bachmanov b. Editor Bernhard Runge-Mutzke. Copyist Johann Andreas Kuhnau ca. Bach St Copyist See note. Copyist Carl Friedrich Zelter Bach St Realisation of recitative cembalo. Leipzig: C. Peters , n. These files are part of the Orchestra Parts Project. Plate Wb. Editor Hermann Kretzschmar — preface. Editor Woldemar Bargiel — Plate Arranger Alain Brunet b. Editor Georg L. The final chorale of St. John Passion with all 3 stanzas of the hymn "Herzlich lieb hab ich dich, o Herr" according to no.
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Vivace II. Largo, ma non tanto III. First Pub lication. Contents 1 Performances 1. Performer Pages Cambridge Concentus orchestra. From archive.
Javascript is required for this feature. Deutsche Grammophon , Source: Internet Archive. Source: archive. Performer Pages Paul De Bra conductor. Performers MIDI.
These file s are part of the Werner Icking Music Collection. He was also freely permitted to study the fine library of music in the Gymnasium, which included some of the best examples of German church music. The growing lad soon lost his soprano voice, but was able to make himself useful as a violinist in the orchestra, and as an accompanist at the harpsichord during choir rehearsals.
Though distinctly German in its construction and outer appearance, Celle Castle was known as a 'miniature Versailles' for its rich interiors and then-current musical tastes. When he was nearly eighteen, Johann Sebastian, considerably enriched by these musical experiences, decided he would try to find employment as an organist in his native Thuringia.
He was greatly interested in an organ under construction in the new church of Arnstadt, and as members of his family had been professionally active in the district for generations, he felt he had a good chance of getting the post. While awaiting the completion of the organ at Arnstadt, Sebastian was offered, and accepted the post of violinist in the small chamber orchestra of Duke Johann Ernst, the younger brother of the Duke of Weimar.
Here at Weimar he now came into contact with Italian instrumental music, and acted as deputy to the aging Court Organist, Effler, an old friend of the Bach family, thus having a chance to keep his organ playing in practice. His stay here was short, but he was to return later. In July the Arnstadt Town Council invited young Bach to try out the newly finished organ in the 'New Church', so called as it had been almost totally rebuilt having been seriously damaged by fire.
He so impressed the people of Arnstadt with his brilliant playing at the dedication that he was immediately offered the post of organist on very favorable terms. Return to top of page ARNSTADT: At the end of , year-old Sebastian took up his post at the small town of Arnstadt, no doubt thrilled at having his own relatively large organ of two manuals and 23 speaking stops, and the responsibility of providing music for his own congregation. Though the present organ is not "Bach's", the original manuals, stops and pedals of Bach's organ are displayed in the Palm Haus Museum of this quiet historic little town, where the house in which Bach lodged can also be seen.
The congregation however was completely surprised and bewildered by his new musical ideas: there was considerable confusion during the singing of the chorales, caused by his "surprising variations and irrelevant ornaments which obliterate the melody and confuse the congregation".
Bach did not attempt to justify himself before what must have seemed to him a group of narrow minded and conservative old gentlemen; yet the Council, knowing how skilled his playing was, decided to treat their young and impetuous organist with leniency. However, new conflicts soon arose when Bach, citing a clause in his contract, refused to work any longer with the undisciplined boys' choir which he had been required to train for the sake of Council economy. For this the Council further reprimanded him and also added the complaint that he had been "entertaining a strange damsel" to music in organ loft of the church.
The young lady was probably his cousin, Maria Barbara, whom he was later to marry. Thus, what had been an exciting and promising start at Arnstadt, had now turned into recriminations and disputes; Bach no doubt decided it would be better to look around for somewhere new. Unfortunately, a quarter of the whole town had recently been devastated by fire; it was difficult for him to find suitable dwellings, and he was thus forced to pay a high rent.
Nevertheless, shortly after his arrival, he brought his cousin Maria Barbara from Arnstadt, and on October 17th he married her at the small church in the picturesque little village of Dornheim. Maria Barbara came of a branch of the musical Bach family, her father being organist at Gehren. This success gave Bach the courage to put in a long and detailed report, proposing a complete renovation and improvement of the organ in the St Blasiuskirche.
The Council agreed to carry out the renovation and improvements, and Bach was given the task of supervising the work, for not only was he now a brilliant player, he had also become an expert on the construction of organs.
Bach was apprehensive of the latter's growing influence, in addition to the fact that his immediate superior was a Pietist. The Council had little option but to allow his departure. However, the situation was concluded quite amicably and Bach was asked that he should continue to supervise the rebuilding of the St Blasiuskirche organ. This he did, and some time in he came over to inaugurate its first performance.
Return to top of page WEIMAR second term : Weimar was quite a small town with only inhabitants; yet Bach was to meet some very cultured people here. Not least was his employer, the Duke of Sachsen-Weimar, one of the most distinguished and cultured nobles of his time. Bach's two-fold position as member of the chamber orchestra and as Organist to the Court offered him many opportunities for improvement. The Court Orchestra consisted of about 22 players: a compact string ensemble, a bassoon player, 6 or 7 trumpeters and a timpanist.
Bach's function in the orchestra was mainly as a violinist, however he also played the harpsichord and occasionally wrote or arranged some of the music. As was the custom in most 18th century Courts, the musicians also spent some of their time employed in household and domestic duties. In Bach became the leader of the orchestra, and was now second only to the old and frail Capellmeister Johann Samuel Drese, whose duties he was gradually taking over.
The organ was new and not quite as large as the one at Arnstadt. After a few years, Bach declared that it was inadequate and should be rebuilt. It was in fact rebuilt at great expense according to his plans: proof of the high regard the Court had for his capabilities as organist and expert on organ construction.
During this period he wrote profusely for the organ, and he was rapidly becoming known throughout the country as one of the greatest German organists. Organ pupils came to him from far and wide, and he was asked to test or dedicate many organs in various towns. His tests were extremely thorough and critical. He used to say for fun 'Above all I must know whether the organ has a good lung', and, pulling out all the stops he produced the largest sound possible, often making the organ builders go pale with fright.
He would usually complete his trial by improvising a prelude and fugue: the prelude to test the organ's power, the fugue to test its clarity for counterpoint. Constantin Bellermann describes his playing during a visit to Kassel in these words; 'His feet seemed to fly across the pedals as if they were winged, and mighty sounds filled the church'. Mizler's 'Nekrolog' states: 'His fingers were all of equal strength, all equally able to play with the finest precision.
He had invented so comfortable a fingering that he could master the most difficult parts with perfect ease using 5 fingers instead of the then normal 3.
He was able to accomplish passages on the pedals with his feet which would have given trouble to the fingers of many a clever player on the keyboard'. On a visit to Halle in , during which he gave a trial cantata probably BWV 21 , he was invited to become organist in succession to Zachau, a composer well-known, and celebrated as Handel's early teacher. However, the conditions and salary were not sufficient for his growing family, so he was obliged to refuse the post.
On a visit to Dresden, Bach was invited to compete in a contest with the visiting French organist, Louis Marchand, considered to be one of the best in Europe. But, on the day appointed for the contest, Marchand decided to withdraw discreetly by taking the fastest coach available back to France. And so Bach gave an impressive solo performance before the assembled audience and referees, establishing himself as the finest organist of the day.
Bach made some very good friends at Weimar, among whom was the eminent philologist and scholar Johann Matthias Gesner, who expressed with great eloquence his admiration for the composer's genius. Here the interest was in the new Italian style of music which was then becoming the rage of Europe, one of the chief exponents being the Venetian composer Vivaldi. Bach and his cousin Johann Georg Walther transcribed some of the Italian instrumental concertos for keyboard instruments.
Consequently musicians of the first household were forbidden to fraternize with those of the second. Bach did his best to ignore what was, after all, merely an extension of a private quarrel. But the atmosphere was no longer so pleasant.
Added to this, the ancient Capellmeister then died, and Bach was passed over for the post in favor of the late Capellmeister's mediocre son.
At this, Bach was bitterly disappointed, for he had lately been doing most of the Capellmeister's work, and had confidently expected to be given the post.
This infuriated the Duke of Weimar, so that when Bach put in a polite request for his release, he was arrested and put in the local jail. However, after a month, he was released and given reluctant permission to resign his office. Prince Leopold had already spent three years doing the Grand Tour of Europe, first to Holland and England, through Germany to Italy, returning by way of Vienna.
So he would have been thoroughly familiar with the latest European fashions in music. The young Prince stretched the limited budget of his miniature Court to provide an orchestra of eighteen players, all chosen for their high musical standards from all over the country, some from as far afield as Berlin.
He had well-developed musical tastes, having traveled widely, particularly to Italy, where he studied Italian secular music with great interest; he returned from Italy determined to raise the standard of German secular music to an equally high level. Unlike most Princes of his time, he was a player of considerable proficiency on the harpsichord, the violin and the viola da gamba, and contrary to current Court etiquette he played quite freely and informally with his Court musicians, treating them entirely as his equals.
He soon became very friendly with his new Capellmeister, having a high regard for him, and would often ask his advice on various matters. During this period he wrote much of his chamber music; violin concertos, sonatas, keyboard music, etc.
When the Prince traveled, Bach and some of the Court musicians together with instruments, including an ingenious folding-harpsichord would accompany him on his extensive journeys. Twice they visited Carlsbad, the meeting place of the European aristocracy, in and in the summer of It was on returning from this second visit that Bach received a serious shock; his wife, Maria Barbara, whom he had left in perfect health three months earlier, had died and been buried in his absence, leaving four motherless children.
Two months later he visited Hamburg and expressed an interest in the newly vacant post of organist in the Jakobskirche. This church contained the famous Arp Schnitger organ with four manuals and sixty stops.
He was asked to compose and perform cantatas for the Prince's birthday and the New Year; two each time, one sacred and one secular.
To perform these works there were singers under contract from nearby Courts, and one of these, Anna Magdalena, daughter of J. In December , Anna Magdalena and Bach married, she at the age of 20, and he Chat With Your Writer. Communicate directly with your writer anytime regarding assignment details, edit requests, etc. Affordable Prices. Success Essays Features. FREE Formatting. FREE Title page. FREE Outline. Assignment Essay Help. Best Customer Support Service.
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