Student Study Outline Chapter 24: Johann Sebastian Bach I. Johann

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Student Study Outline Chapter 24: Johann Sebastian Bach I. Johann Sebastian Bach’s Life and Career a. Johann Sebastian Bach (1685–1750) i. Dominant figure viewed as embodying Baroque music ii. Music historians– see his work as summing up developments in Western music extending back to the Renaissance iii. Notable Works 1. The Well-Tempered Clavier 2. Church cantatas– in the hundreds 3. St. Matthew Passion 4. St. John Passion 5. Mass in B minor 6. Concertos, suites, organ compositions 7. The Musical Offering 8. The Art of the Fugue iv. Bach’s Early Life and Career Beginnings 1. Came from a long line of musicians reaching back to the 16th century 2. 1708– became court organist in Weimar v. The Move to Cöthen 1. 1717– offered position at the court of Cöthen 2. Duke of Weimar did not release him from service and had him imprisoned before he could leave for the new position 3. Served as music director from 1717–1723 a. Wrote instrumental works and gathered them into collections i. Six cello suites ii. First volume of The Well-Tempered Clavier iii. Six Brandenburg Concertos iv. Keyboard pieces vi. Bach’s Children and Wives 1. Fathered 20 children a. Several became musicians with important careers: i. Wilhelm Friedemann Bach ii. Carl Philipp Emanuel Bach iii. Johann Christian Bach vii. Final Years in Leipzig 1. 1723– moved to Leipzig to serve as music director a. Responsibilities included: i. Composing music for the city’s civic functions ii. Composing music for the principal churches, including St. Thomas (where Bach is buried) iii. Instruct Latin at the Thomas School 2. Weekly church service music a. Bach produced: i. Organ preludes ii. Motets iii. Chorale arrangements iv. Cantatas 3. Collegium musicum 4. 1740–- monumental instrumental cycle; The Art of the Fugue 5. Last years a. Suffered from gradual vision loss b. Left over 1100 compositions in manuscript that fell into obscurity after his death and were rediscovered a century later .

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The Form of the Preludes to Bach's Unaccompanied Cello Suites
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2011 The orF m of the Preludes to Bach's Unaccompanied Cello Suites Daniel E. Prindle University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Composition Commons, Musicology Commons, Music Practice Commons, and the Music Theory Commons Prindle, Daniel E., "The orF m of the Preludes to Bach's Unaccompanied Cello Suites" (2011). Masters Theses 1911 - February 2014. 636. Retrieved from https://scholarworks.umass.edu/theses/636 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2011 Master of Music in Music Theory © Copyright by Daniel E. Prindle 2011 All Rights Reserved ii THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Approved as to style and content by: _____________________________________ Gary Karpinski, Chair _____________________________________ Miriam Whaples, Member _____________________________________ Brent Auerbach, Member ___________________________________ Jeffrey Cox, Department Head Department of Music and Dance iii DEDICATION To Michelle and Rhys. iv ACKNOWLEDGEMENTS First and foremost, I would like to acknowledge the generous sacrifice made by my family.
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The Family Bach November 2016
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HC18014.Booklet.Chorales.qxp_PH?????_Booklet_Gamben/Handel 20.03.19 15:24 Seite 1 Johann Christoph ALTNICKOL Johann Christoph Friedrich BACH Bach́s Family Choral Motets Kammerchor Stuttgart FRIEDER BERNIUS HC18014.Booklet.Chorales.qxp_PH?????_Booklet_Gamben/Handel 20.03.19 15:24 Seite 2 Bachs Familie · Choral‐Motetten DEUTSCH Kein Komponist der Musikgeschichte hat „seines Vaters Claviercompositionen am so viele hochbegabte Schüler hervor ge- fertigsten vorgetragen“ habe. Anfang bracht wie Johann Sebastian Bach. Da er Januar 1750 erhielt er auf dessen Em- etliche von ihnen in seiner Wohnung pfehlung eine Anstellung als Kammermu- beherbergte, konnten sie tiefe Einblicke in siker am Hofe des Grafen Wilhelm von sein Schaffen gewinnen. Unter seinen Schaumburg-Lippe in Bückeburg, einem komponierenden Söhnen stand Johann der Aufklärung verpflichteten, sozial enga- Christoph Friedrich, der sogenannte „Bücke- gierten, charismatischen Adligen, dessen burger Bach“, am wenigsten im Rampen- Neigungen viel eher den schönen Künsten licht der Öffentlichkeit. Als „Externus“ be- als höfischem Repräsentationsbedürfnis suchte der zweitjüngste Sohn zunächst die galten. Mitunter dirigierte er die Kapelle Thomasschule, erhielt musikalischen Unter- seiner Residenz selbst. Seine Gattin ließ richt vom Vater und wurde darüber hinaus sich von Johann Christoph Friedrich Bach durch seinen entfernten Meininger Cousin unterrichten und beschenkte ihn reichlich. Johann Elias Bach in außermusikalischen Dessen Jahresgehalt belief sich zeitweise Fächern unterwiesen. An der Leipziger auf stolze 1.000 Reichstaler. Er blieb – ab- Universität immatrikulierte er sich für das gesehen von einer Reise nach London zum Fach der Jurisprudenz, doch brach er sein jüngeren Bruder Johann Christian – Zeit Studium schon vorzeitig wieder ab. Bereits seines Lebens in Bückeburg. Dort heiratete seit Mitte der 1740er Jahre zählte er zu er die Sopranistin Lucia Münchhausen.
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J. S. Bach's Six Unaccompanied Cello Suites: What Did Bach Want?
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The Keyboard Music of Wilhelm Friedemann Bach Updates and Corrections
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