Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt.[10] He was the eighth child of Johann Ambrosius, (the eldest son in the family was 14 at the time of Bach's birth)[11] who probably taught him violin and the basics of music theory.[12] His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach(1645–93), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist. Bach drafted a genealogy around 1735, titled "Origin of the musical Bach family".[13]
Bach's mother died in 1694, and his father died eight months later.[5] Bach, aged 10, moved in with his oldest brother, Johann Christoph Bach(1671–1721), the organist at St. Michael's Church in Ohrdruf, Saxe-Gotha-Altenburg.[14] There he studied, performed, and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly.[15][16] He received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied)[2] and Johann Jakob Froberger; North German composers;[3] Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais; and the Italian clavieristGirolamo Frescobaldi. Also during this time, he was taught theology, Latin, Greek, French, and Italian at the local gymnasium.[17]
At the age of 14, Bach, along with his older school friend Georg Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in Lüneburg in the Principality of Lüneburg.[18] Although it is not known for certain, the trip was likely taken mostly on foot.[17] His two years there were critical in exposing him to a wider facet of European culture. In addition to singing in the choir he played the School's three-manual organ and harpsichords.[17] He came into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in other disciplines.
While in Lüneburg, Bach had access to St. John's Church and possibly used the church's famous organ, built in 1549 by Jasper Johannsen, since it was played by his organ teacher Georg Böhm.[19] Given his musical talent, Bach had significant contact with Böhm while a student in Lüneburg, and also took trips to nearby Hamburg where he observed "the great North German organist Johann Adam Reincken".[19][20] Stauffer reports the discovery in 2005 of the organ tablatures that Bach wrote out when still in his teens of works by Reincken and Dieterich Buxtehude, showing "a disciplined, methodical, well-trained teenager deeply committed to learning his craft".[19]
Weimar, Arnstadt, and Mühlhausen (1703–08)

St. Boniface's Church, Arnstadt
In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen,[21][22] Bach was appointed court musician in the chapel of Duke Johann Ernst III in Weimar. His role there is unclear, but likely included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ, and give the inaugural recital, at St. Boniface's Church in Arnstadt, located about 30 kilometres (19 mi) southwest of Weimar.[23] In August 1703, he became the organist at St. Boniface's, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys to be used.

St. Mary's Church, Lübeck
Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employer was upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 1705–06, to visit the great organist and composer Dieterich Buxtehude and his Abendmusiken at St. Mary's Church in the northern city of Lübeck. The visit to Buxtehude involved a 400-kilometre (250 mi) journey on foot each way. The trip reinforced Buxtehude's style as a foundation for Bach's earlier works.[24]
In 1706, Bach was offered a post as organist at St. Blasius's in Mühlhausen, which he took up the following year. It included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. They had seven children, four of whom survived to adulthood, including Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach who both became important composers as well. Bach was able to convince the church and city government at Mühlhausen to fund an expensive renovation of the organ at St. Blasius's. Bach, in turn, wrote an elaborate, festive cantata—Gott ist mein König (BWV 71)—for the inauguration of the new council in 1708. The council paid handsomely for its publication, and it was a major success.[17]
Return to Weimar (1708–17)

Portrait of the young Bach (disputed)[25]
In 1708, Bach left Mühlhausen, returning to Weimar this time as organist and from 1714 Konzertmeister (director of music) at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.[17] Bach moved with his family into an apartment very close to the ducal palace. In the following year, their first child was born and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729.
Bach's time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and to include influences from abroad. He learned to write dramatic openings and employ the dynamic motor rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still regularly performed. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.[26]
In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke's ensemble.[17] He also began to write the preludes and fugues which were later assembled into his monumental work The Well-Tempered Clavier (Das Wohltemperierte Clavier—"Clavier" meaning clavichord or harpsichord),[27] consisting of two books, compiled in 1722 and 1744,[28] each containing a prelude and fugue in every major and minor key.

The autograph of Bach'sViolin Sonata No. 1 in G minor(BWV 1001)
Also in Weimar Bach started work on the Little Organ Book, containing traditional Lutheran chorales (hymn tunes) set in complex textures. In 1713, Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Marktkirche Unser Lieben Frauen. Johann Kuhnau and Bach played again when it was inaugurated in 1716.[29][30] Musicologists debate whether his first Christmas cantata Christen, ätzet diesen Tag, BWV 63, was premiered here in 1713,[31] or if it was performed for the bicentennial of the Reformation in 1717.[32]
In the spring of 1714, Bach was promoted to Konzertmeister, an honour that entailed performing a church cantata monthly in the castle church.[33]The first three cantatas Bach composed in Weimar were Himmelskönig, sei willkommen, BWV 182, for Palm Sunday, which coincided with theAnnunciation that year, Weinen, Klagen, Sorgen, Zagen, BWV 12, for Jubilate Sunday, and Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172for Pentecost.[34]
In 1717, Bach eventually fell out of favour in Weimar and was, according to a translation of the court secretary's report, jailed for almost a month before being unfavourably dismissed: "On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge."[35]
Köthen (1717–23)
Leopold, Prince of Anhalt-Köthen hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular,[36] including the orchestral suites, the cello suites, the sonatas and partitas for solo violin, and theBrandenburg Concertos.[37] Bach also composed secular cantatas for the court such as Die Zeit, die Tag und Jahre macht, BWV 134a. At least one significant influence upon Bach's musical development during his years with the Prince are recorded by Stauffer as Bach's "complete embrace of dance music, perhaps the most important influence on his mature style other than his adoption of Vivaldi's music in Weimar".[19]
Despite being born in the same year and only about 130 kilometres (81 mi) apart, Bach and Handel never met. In 1719, Bach made the 35-kilometre (22 mi) journey from Köthento Halle with the intention of meeting Handel, however Handel had recently departed the city.[38] In 1730, Bach's son Wilhelm Friedemann travelled to Halle to invite Handel to visit the Bach family in Leipzig, but the visit did not come to pass.[39]
On 7 July 1720, while Bach was on travel to Carlsbad with Prince Leopold, Bach's first wife suddenly died.[40] The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano 17 years his junior, who performed at the court in Köthen; they married on 3 December 1721.[41] Together they had 13 more children, six of whom survived into adulthood: Gottfried Heinrich, Johann Christoph Friedrich, and Johann Christian, all of whom became significant musicians; Elisabeth Juliane Friederica (1726–81), who married Bach's pupil Johann Christoph Altnickol; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).[42]
Leipzig (1723–50)

St. Thomas Church, Leipzig

Nikolaikirche, Leipzig, c. 1850

Café Zimmermann, Leipzig, where the Collegium Musicum performed

Places where Bach lived
In 1723, Bach was appointed Cantor of the Thomasschule at the Thomaskirche (St. Thomas Church) in Leipzig, and Director of Music in the principal churches in the town, namely the Thomaskirche and the Nikolaikirche (St. Nicholas Church).[43] This was a prestigious post in the mercantile city in the Electorate of Saxony, which he held for 27 years until his death. It brought him into contact with the political machinations of his employer, Leipzig's city council.
Bach was required to instruct the students of the Thomasschule in singing and to provide church music for the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ a deputy to do this instead. A cantata was required for the church services on Sundays and additional church holidays during the liturgical year. He usually performed his own cantatas, most of which were composed during his first three years in Leipzig. The first of these was Die Elenden sollen essen, BWV 75, first performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant.[34] Of the over three hundred cantatas which Bach composed in Leipzig, approximately one hundred have been lost to posterity.[19] Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724, and composed only chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140,Nun komm, der Heiden Heiland, BWV 62, and Wie schön leuchtet der Morgenstern, BWV 1.
Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets, at least five of which are for double choir.[44] As part of his regular church work, he performed other composers' motets, which served as formal models for his own.[17]
Bach's predecessor as Cantor, Johann Kuhnau, had also been music director for the Paulinerkirche, the church of Leipzig University. But when Bach was installed as Cantor in 1723, he was put in charge only of music for "festal" (church holiday) services at thePaulinerkirche; his petition to provide music also for regular Sunday services there (for corresponding salary increase) went all the way up to King Augustus II but was denied. After this, in 1725, Bach "lost interest" in working even for festal services at the Paulinerkircheand appeared there only on "special occasions".[45] The Paulinerkirche had a much better and newer (1716) organ than did theThomaskirche or the Nikolaikirche. Bach had been consulted officially about the 1716 organ after its completion, came from Köthen, and submitted a report.[46] Bach was not required to play any organ in his official duties, but it is believed he liked to play on thePaulinerkirche organ "for his own pleasure".[47]
Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by the composer Georg Philipp Telemann. This was one of the dozens of private societies in the major German-speaking cities that was established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words ofChristoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions".[48] Year round, the Leipzig's Collegium Musicum performed regularly in venues such as the Café Zimmermann, acoffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin andkeyboard concertos.[17]
In 1733, Bach composed a mass for the Dresden court (Kyrie and Gloria) which he later incorporated in his Mass in B minor. He presented the manuscript to the King of Poland, Grand Duke of Lithuania and Elector of Saxony, Augustus III in an eventually successful bid to persuade the monarch to appoint him as Royal Court Composer.[4] He later extended this work into a full mass, by adding a Credo, Sanctus and Agnus Dei, the music for which was partly based on his own cantatas, partly new composed. Bach's appointment as court composer was part of his long-term struggle to achieve greater bargaining power with the Leipzig council. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach took over the directorship of the Collegium Musicum.
In 1747, Bach visited the court of King Frederick II at Potsdam. The king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on one of Frederick's fortepianos, then a novelty, and later presented the king with a Musical Offering which consists of fugues, canons and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration.
In the same year Bach joined the Corresponding Society of the Musical Sciences (Correspondierende Societät der musicalischen Wissenschaften) of Lorenz Christoph Mizler. On the occasion of his entry into the Society Bach composed the Canonic Variations on "Vom Himmel hoch da komm' ich her" (BWV 769).[49] A portrait had to be submitted by each member of the Society, so in 1746, during the preparation of Bach's entry, the famous Bach-portrait was painted by Elias Gottlob Haussmann.[50] The Canon triplex á 6 Voc.(BWV 1076) on this portrait was dedicated to the Society.[51] Other late works by Bach may also have a connection with the music theory based Society.[52] One of those works was The Art of Fugue, which consists of 18 complex fugues and canons based on a simple theme.[53] The Art of Fugue was only published posthumously in 1751.[54]
Bach's last large work was the Mass in B minor (1748–49) which Stauffer describes as "Bach's most universal church work. Consisting mainly of recycled movements from cantatas written over a thirty-five year period, it allowed Bach to survey his vocal pieces one last time and pick select movements for further revision and refinement."[19] Although the complete mass was never performed during the composer's lifetime, it is considered to be among the greatest choral works of all time.[55]
Death (1750)

Bach's grave, St. Thomas Church, Leipzig
Bach's health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Johann Gottlob Harrer, fill the Thomaskantor and Director musices posts "upon the eventual ... decease of Mr. Bach".[56] Bach became increasingly blind, so the British eye surgeon John Taylor operated on Bach while visiting Leipzig in March or April 1750.[57]
On 28 July 1750 Bach died at the age of 65. A contemporary newspaper reported "the unhappy consequences of the very unsuccessful eye operation" as the cause of death.[58] Modern historians speculate that the cause of death was a stroke complicated by pneumonia.[6][7][8] His son Carl Philipp Emanuel and his pupil Johann Friedrich Agricola wrote an obituary of Bach.[59] In 1754, it was published by Lorenz Christoph Mizler in the musical periodical Musikalische Bibliothek. This obituary arguably remains "the richest and most trustworthy"[60] early source document about Bach.
Bach's estate included five harpsichords, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and aspinet, and 52 "sacred books", including books by Martin Luther and Josephus.[61] He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years. In 1894, his remains were located and moved to a vault in St. John's Church. This building was destroyed by Allied bombing during World War II, so in 1950 Bach's remains were taken to their present grave in St. Thomas Church.[17] Later research has called into question whether the remains in the grave are actually those of Bach.[62]
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Legacy
After his death, Bach's reputation as a composer at first declined; his work was regarded as old-fashioned compared to the emerging galant style, a movement which can be seen as the precursor to the classical style of the late eighteenth century.[63] Initially he was remembered more as a player and teacher.
During the late eighteenth and early nineteenth century, Bach was recognised by several prominent composers for his keyboard work. Wolfgang Amadeus Mozart, Ludwig van Beethoven, Frédéric Chopin, Robert Schumann, and Felix Mendelssohn were among his admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.[64] Beethoven described him as "Urvater der Harmonie", the "original father of harmony".[65]

Statue of Bach, Leipzig
Bach's reputation among the wider public was enhanced in part by Johann Nikolaus Forkel's 1802 biography of the composer.[66] Felix Mendelssohn significantly contributed to the revival of Bach's reputation with his 1829 Berlin performance of the St Matthew Passion.[67] In 1850, the Bach-Gesellschaft (Bach Society) was founded to promote the works; in 1899 the Society published a comprehensive edition of the composer's works with little editorial intervention.
During the twentieth century, the process of recognising the musical as well as the pedagogic value of some of the works continued, perhaps most notably in the promotion of the cello suites by Pablo Casals, the first major performer to record these suites.[68] Another development has been the growth of the "authentic" or "period performance" movement, which attempts to present music as the composer intended it. Examples include the playing of keyboard works on harpsichord rather than modern grand piano and the use of small choirs or single voices instead of the larger forces favoured by nineteenth- and early twentieth-century performers.[69]
The liturgical calendar of the Episcopal Church remembers Bach annually with a feast day on 28 July, together with George Frideric Handel andHenry Purcell; the Calendar of Saints of the Lutheran Church, on the same day remembers Bach and Handel with Heinrich Schütz. In other circles, Bach's music is bracketed with the literature of William Shakespeare and the science of Isaac Newton.[70]
In Germany, during the twentieth century, many streets were named and statues were erected in honour of Bach. A large crater in the Bach quadrangle on Mercury is named in Bach's honor[71] as are the main-belt asteroids 1814 Bach and 1482 Sebastiana.[72] Bach's music features three times—more than that of any other composer—on the Voyager Golden Record, a gramophone record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyagerprobes.[73]
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Works
Main articles: BWV and List of compositions by Johann Sebastian Bach | Music of Johann Sebastian BachWachet auf, ruft uns die Stimme (BWV 140)MENU0:00opening chorale from cantata BWV 140, performed by the MIT Concert ChoirPrelude No. 1 in C major (BWV 846)MENU0:00from The Well-Tempered Clavier, Book 1, performed on harpsichord by Robert SchröterAria from the Goldberg Variations (BWV 988)MENU0:00opening aria from the Goldberg Variations, performed on piano by Kimiko IshizakaCello Suite No. 1 in G major (BWV 1007)MENU0:00prelude from Cello Suite No. 1, performed by John Michel | Problems playing these files? See media help. |
In 1950, a thematic catalogue called Bach-Werke-Verzeichnis (Bach Works Catalogue) was compiled by Wolfgang Schmieder.[74] Schmieder largely followed the Bach-Gesellschaft-Ausgabe, a comprehensive edition of the composer's works that was produced between 1850 and 1905: BWV 1–224 are cantatas; BWV 225–249, large-scale choral works including hisPassions; BWV 250–524, chorales and sacred songs; BWV 525–748, organ works; BWV 772–994, other keyboard works; BWV 995–1000, lute music; BWV 1001–40, chamber music; BWV 1041–71, orchestral music; and BWV 1072–1126, canonsand fugues.[75]
Organ works
Bach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres—such as preludes, fantasias, and toccatas—and stricter forms, such as chorale preludes and fugues.[17]At a young age, he established a reputation for his great creativity and ability to integrate foreign styles into his organ works. A decidedly North German influence was exerted by Georg Böhm, with whom Bach came into contact in Lüneburg, and Dieterich Buxtehude, whom the young organist visited in Lübeck in 1704 on an extended leave of absence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italian composers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldi and others for organ and harpsichord. During his most productive period (1708–14) he composed about a dozen pairs of preludes and fugues, five toccatas and fugues, and the Little Organ Book, an unfinished collection of 46 short chorale preludes that demonstrates compositional techniques in the setting of chorale tunes. After leaving Weimar, Bach wrote less for organ, although some of his best-known works (the six trio sonatas, the German Organ Mass in Clavier-Übung III from 1739, and the Great Eighteen chorales, revised late in his life) were composed after his leaving Weimar. Bach was extensively engaged later in his life in consulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.[76][77]
Other keyboard works

The title page of the third part of the Clavier-Übung, one of the few works by Bach that was published during his lifetime
Bach wrote many works for harpsichord