Abstract This paper briefly discusses how one of the most famous German Baroque composers and musicians was JohannSebastianBach. It looks at how Bach came from a long legacy of musically inclined individuals, a family tradition which was epitomized by his life and career and how, through his heritage, education, and experience with the best musical programs in Germany, Bach quickly rose to the top of German society. He made friends with royalty and brought great discipline to even the most fractured musical schools in Germany. It also examines how the incredible ambiance of his original performances has continued through the generations into modern day performances, which give credence to the brilliance within every Bach composition.
From the Paper "Born in 1685, Johann Sebastian Bach entered into an already musically inclined family. His father, Johann Ambrosius, was under the employment of the Duke of Eisnach as a court trumpeter, (Smith, 1996). Johann Ambrosius also served as the director of musicians within their native town. Also musically inclined within the Bach family were his older brothers and uncles, who brought variety and expertise to the future composer and musician. In fact, it was his father who introduced him to the violin and harpsichord, and his older brother who directed him towards mastering the organ. Johann Sebastian Bach was forced to live with his oldest brother when both his parents died within a year's time, when he was still a child of nine years old. "
Abstract This paper discusses the origins of the early classical symphony with particular reference to JohannSebastianBach's (J.S Bach) "Opus 18 number 4" and his son, Carl Philipp Emanuel Bach's (C.P.E Bach) "Symphony in D". The author first provides a brief background on the classical period of the 17th and 18th century. The paper then studies J.S. Bach's Symphony, "Opus 18, number 4", stating that it is a good example of the basic structure used during this era. The paper also examines C.P.E Bach's "Symphony in D", comparing it to the senior Bach's work.
From the Paper "Affected by the Enlightenment, the early classical symphonies were quite diversified in composition. As each symphony was created for performance for public and social occasions, there were many composers and many symphonies created during this time, financed by their bourgeois and aristocratic clientele. Orchestras were developed as a result, to play these many new pieces. Non-symphonic pieces were also being produced on an individual basis: sonatas being a popular composition for an individual musician."
Abstract JohannSebastianBach stands as the epitome of Western music. This paper explains that as a musician, Bach encompassed all of the musical styles that preceded him, such as those found in the medieval and Renaissance periods, and then rose to the highest peak of artistic and technical development beyond which it was, in many cases, impossible to go any further. The writer points out, however, that Bach also looked forward to the future of Western art and music and set the standards for the centuries to come. More conspicuously than any other composer of his day, Bach suggested and invented the technical devices and methods which, with the coming of other composers like Haydn, Mozart and Beethoven, were soon to open up new horizons for music.
From the Paper "His special quality had much to do with how he used the resources of art in order to apply them to new purposes. His artistic powers and insight were so much higher than those who came before him that Western music, almost at once, evolved from the simplicities of the Medieval period and into full maturity. Bach wrote a library of music that is incomparable in regard to its extensiveness and artistic merit. It is indeed curious that this uniquely productive genius who wrote so much that was touched with immortality should have been neglected for almost a century after his death in 1750."
Abstract This paper compares the works of Ludwig van Beethoven and JohannSebastianBach. The paper points out that both musicians were great and influential men, but their styles and the way they conducted their lives and their music varied greatly. The works compared and contrasted are the first movement of Beethoven's "Symphony No. 5", belonging to the classical genre of music, and the first movement of Bach's "Brandenburg Concert No. 5", belonging to the late Baroque style. The paper also addresses the composers' tragic lives. To conclude, the author of the paper praises both composers, but ultimately prefers Beethoven's works.
From the Paper "The Brandenburg Concertos were written by Johann Sebastian Bach between the years of 1715 and 1721. There are six different concertos, all of which individually call for a diverse group of soloists in the concertino. In the first movement of the Brandenburg Concerto No. 5, which was written in 1720 and lasts for a period of nine minutes and forty-one seconds, a brilliant use of the harpsichord can be heard by the listener. Bach's intent in writing the Brandenburg Concertos was to show off his ability to write challenging music for any instrument, which he does illustrate greatly in the first movement of the fifth concerto, as well as in all of the others. Johann Sebastian Bach lived from 1685 to 1750 and it is said that everything he did, everything that he wrote was for the glory of God. Bach's tragic life was not unlike Beethoven's in that Bach and his wife Anna had twelve children and eight of them died before they reached the age of five. This was not exactly uncommon for the time, but tragic nonetheless. Bach was the master of counterpoint, which means that he essentially mastered polyphony and the harmonious opposition of two or more independent musical lines. In this first movement of the fifth Brandenburg Concerto, the full orchestra is in competition for the attention of the listener with the concertino."
Tags: concertino, counterpoint, harmony, baroque, romantic, classical, music
Abstract This paper compares and contrasts two masterpieces of classical music: "Mass in B Minor" by JohannSebastianBach and "Symphony Number Five" by Dimitri Shostakovich. The paper relates that, although both the aforementioned works share the accolades assigned to that of a masterpiece, they represent two very different periods in the history of classical music. As such, following an initial analysis of each piece independently, the author evaluates the historical issues that arise while comparing and contrasting the two works.
From the Paper "Bach's Mass in B Minor is a traditional baroque work in many respects; however it also represents an example of early classical music. At the time it would have been performed by a small orchestra and SATB chorus. In addition, there would have been far less diversity in the number of varying instruments used compared with today. Orchestras of the mid eighteenth century would have primarily had a fairly strong string section, possibly accompanied by organ, oboes and trumpets. Although much of the work dates back to as early as 1724, it was not completed in its present entirety until 1749, a year before Bach's death. It is difficult to accurately determine whether the B Minor Mass was written with a specific occasion in mind."
Abstract Through an analysis of the music of eight Western classical composers, this paper attempts to understand how their various environments influenced their musical output. The eight composers that this paper studies are: JohannSebastianBach, Joseph Haydn, Richard Wagner, Peter Iljitch Tchaikovsky, Claude Debussy, Igor Stravinsky, Bela Bartok and George Crumb. The paper chooses to focus on specific compositions to demonstrate how each artist was affected by the events of his life -- from personal situations such as a family crisis, marriage or the loss of a loved one to broader social/cultural developments in his country or the world.
Outline:
Introduction
JohannSebastianBach Joseph Haydn
Richard Wagner
Peter Iljitch Tchaikovsky
Claude Debussy
Igor Stravinsky
Bela Bartok
George Crumb
Conclusion
From the Paper "In Bach's Christ lag in Todesbanden (Church Cantata No. 4), written for Easter Sunday, the hymn melody and its verses are used exclusively throughout the piece. The opening measure, in the style of Buxtehude, Bach's mentor, is followed by seven verses, each having its own musical signature. In this opening measure, one can hear that the music is touched by the sorrows of death, but in the third verse, there is an outpouring of joy. This cantata was written in 1724 during a period in Bach's life that was full of musical expression. However, in 1720, his first wife, Maria Barbara died, and in 1721, Bach married Anna Magdalena Wuelken who bore him thirteen children. Thus, through the music of Cantata No. 4, Bach's sadness over the death of his first wife can be sensed; however, due to his strict religious upbringing, his joy can be sensed in the third verse which reflects his knowledge that his late wife is now with God in Heaven."
Abstract This paper provides a biography of the life and the accomplishments of the musical genius JohannSebastianBach. This paper is formatted in two parts: The first section documents Bach's private life, which is surprisingly notorious for a court musician in the eighteen-hundreds. The second section of this paper documents the musical accomplishments of Bach, as well as the aspects of music that influenced his growth as a composer.
This paper creates an imaginary luncheon conversation between Aaron Copland, Johannes Brahms and JohannSebastianBach to explain and compare their music.
Abstract The paper relates that Copland based his music on a deep appreciation of the music of Brahms and Bach. The author points out that both Copland and Bach were enthralled by folk music as evidenced in Brahms' 'Hungarian Dances' and Copland's 'Billy the Kid'. The paper relates that, upon being asked by Brahms who influenced him, Bach remembers the deference that he held for the great organist Buxtehude; whereas, Beethoven and Robert Schumann strongly influenced Brahms. The author reveals that Brahms was a homosexual, Copland was a communist and Bach rebelled against the Calvinist Prince Leopold, his sponsor, by composing also such secular music as the 'Brandenburg Concertos'. The paper concludes that the music of all three men were revolutionary in their own way.
From the Paper "Think of your Hungarian Dances. You were enthralled by the gypsy music that you heard, and it was evident in much of what you wrote. I also fell in love with folk music. I wrote 'Billy the Kid', which is indubitably folk, as well as 'Rodeo,' both of which are beloved. I'm not sure if you watch much television, but the hoedown from Rodeo is used in the 'Beef, it's What's for Dinner' commercial." "Speaking of beef, what is for lunch?" Johann interjected. "Do they have any mince pie?" "I'm not sure," Aaron replied, "but you might like a hamburger."
"As in Hamburg?" both Brahms and Bach asked.""
Abstract The paper asserts that the "Mass in B Minor" not only sums up Bach's own eclectic style, but also sums up the styles of previous periods as well. This paper first addresses some of the historical aspects surrounding the Mass. It then discusses controversial theories regarding Bach's purpose in writing such a work and finally acknowledges a small variety of those styles, i.e., stile antico, galant, that Bach assimilated into this monumental work.
From the Paper "Throughout the Mass in B minor there are three clearly distinct styles of Baroque vocal writing that can be heard influencing this quite eclectic work. The first is the traditional stile antico or "church style," the somewhat plain and simple manner inherited from the Renaissance (prima practica). In this musical style the notation employs long note values, dissonance and melodic ornamentation are used cautiously, and the instruments are used primarily to double the choral parts. In contrast, the vibrant, sometimes harsh Baroque style displays an often lively rhythm, brilliant orchestration, expressive dissonance, and melodic lines that are highly ornamented. The third and final type is that of the arias and duets, derived predominately from the virtuosic solo writing of the opera and cantata."
Abstract The paper explains and illustrates that each composer supplied the musical paradigms for their distinctive eras. This paper discusses that JohannSebastianBach (1685-1750) is considered as the culminating influence of the Baroque period. The author believes that Ludwig Van Beethoven (1770-1827) is the supreme pianist of the Classical period. The paper states that Frederic Francois Chopin (1810-1849) is one of the most original and influential musicians of the nineteenth century.
From the Paper "As early as 1831, Chopin expressed his wish to create a new musical world characterized by musical poetry of an extraordinary elegant nature, mostly represented by his piano pieces, such as his Polonaises (Adante spianato and Grande Polonaise Brilliante Op. 22 and Polonaise in Ab Heroic Op. 53). Chopin's harmonic language was also completely original, symbolized by complex chromatic harmonies mingled with the drones of fifths and modal scales of traditional Polish folk music. His fifty-five Mazurkas displayed all the intricacies of his style. It has often been compared to the virtuosity of Bach's Well-Tempered Clavier."
Abstract This paper discusses four works that Bach composed to be played on the organ (which he himself played). It discusses the Toccata and Fugue in D minor, BWV 565; the Fantasia and Fugue in G minor, BWV 542 "Great G minor"; the Passacaglia and Fugue in C minor, BWV 582; and the Concerto for Organ solo in A minor, BWV 593 (after Vivaldi). The paper looks at each work and then describes how these works influenced many later composers in the process.
Table of Contents:
Introduction
Toccata and Fugue in D minor, BWV 565
Fantasia and Fugue in G minor
Passacaglia and Fugue in C minor
Concerto for Organ solo in A minor
Conclusion
From the Paper "Bach wrote a variety of organ music, much of it requiring considerable skill on the part of the organist, presumably so he could demonstrate his own skill with the organ. This is reminiscent of similar ways of demonstrating skill on the violin for Paganini, or on the piano by Liszt. Bach extended the reach of the organ in these works and influenced many later composers in the process. Many of his organ works were from an early period in his career, in keeping with his role as church composer and organist in various venues."
Abstract This paper looks at Bach's First Brandenburg Concerto in F major. It examines the formal elements of the opening movement and the minuet and polacca at the end of the concerto.
From the Paper "Johann Sebastian Bach achieved eminence first as a keyboard virtuoso and later as a prolific master composer in nearly all the musical forms and genres of the high Baroque. "
Abstract This paper reviews the the musical styles associated with the Renaissance period, beginning ca. 1450 and ending around 1600, and the Baroque period, commencing ca. 1620 until the death of JohannSebastianBach in 1750. In regard to the Renaissance style, the music was generally quite uniform in structure and depended to a great degree on polyphony in which two or more independent melodies are juxtaposed in harmony. The music of the Baroque period was stylistically varied, especially within particular pieces such as J.S. Bach.
From the Paper "Generally considered as ?Early Music,? the musical styles associated with the Renaissance period, beginning ca. 1450 and ending around 1600, and the Baroque period, commencing ca. 1620 until the death of Johann Sebastian Bach in 1750, share numerous musical traits which according to Steven Bentham revolve around "the application of stable harmony, polyphony and the progressive movement towards humanistic orientation" 1 in contrast to the musical style of the earlier Medieval period which was dominated by liturgical chant repertories. These traits are based on specific musical structures and methods which originated with the composers of the Renaissance period and were later adopted by musicians in the Baroque era. Certain Baroque composers continued to practice the Renaissance style well."
