Reception of Johann Sebastian Bach's music in the context of "Bach"

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⭐ Core Definition: Reception of Johann Sebastian Bach's music

In the 18th century, the appreciation of Johann Sebastian Bach's music was mostly limited to distinguished connoisseurs. The 19th century started with publication of the first biography of the composer and ended with the completion of the publication of all of Bach's known works by the Bach Gesellschaft. The "Bach Revival" started with Felix Mendelssohn's performance of the St Matthew Passion in 1829. Soon after that performance, Bach started to become regarded as one of the greatest composers of all time, if not the greatest, a reputation he has retained ever since. A new extensive Bach biography was published in the second half of the 19th century.

In the 20th century, Bach's music was widely performed and recorded, while the Neue Bachgesellschaft, among others, published research on the composer. Modern adaptations of Bach's music contributed greatly to his popularisation in the second half of the 20th century. Among these were the Swingle Singers' versions of Bach pieces (for instance, the Air from Orchestral Suite No. 3, or the Wachet auf... chorale prelude) and Wendy Carlos' 1968 Switched-On Bach, which used the Moog electronic synthesiser.

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Reception of Johann Sebastian Bach's music in the context of Johann Sebastian Bach

Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period. He is known for his prolific output across a variety of instruments and forms, including the orchestral Brandenburg Concertos; solo instrumental works such as the cello suites and sonatas and partitas for solo violin; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schübler Chorales and the Toccata and Fugue in D minor; and choral works such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been widely regarded as one of the greatest composers in the history of Western music.

The Bach family had already produced several composers when Johann Sebastian was born as the last child of a city musician, Johann Ambrosius, in Eisenach. After being orphaned at age 10, he lived for five years with his eldest brother, Johann Christoph, then continued his musical education in Lüneburg. In 1703 he returned to Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen. Around that time he also visited for longer periods the courts in Weimar, where he expanded his organ repertory, and the reformed court at Köthen, where he was mostly engaged with chamber music. By 1723 he was hired as Thomaskantor (cantor with related duties at St Thomas School) in Leipzig. There he composed music for the principal Lutheran churches of the city and Leipzig University's student ensemble, Collegium Musicum. In 1726 he began publishing his organ and other keyboard music. In Leipzig, as had happened during some of his earlier positions, he had difficult relations with his employer. This situation was somewhat remedied when his sovereign, Augustus III of Poland, granted him the title of court composer of the Elector of Saxony in 1736. In the last decades of his life, Bach reworked and extended many of his earlier compositions. He died due to complications following eye surgery in 1750 at the age of 65. Four of his twenty children, Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich, and Johann Christian, became composers.

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