French suite in C minor Bach Allemande Courant (Foreign composers). “French Suite in C Minor Bach Allemande Courant Essay on Literature on the Theme: French Suite in C Minor Bach Allemande Courant

Bach Johann Sebastian

(Bach) - the greatest composer of church music and organist, son of Johann- Ambrose. Bach (b. 1645, d. 1695), court musician in Eisenach, - b. March 21, 1685 ibid. After the death of his father (his mother died even earlier), B., who was not even ten years old, moved to his elder brother Jog. Christoph. B. (d. 1721), an organist in Ohrdruf, where he began to attend a lyceum and take piano lessons from his own brother. Through the mediation of the Ordruf cantor, Gerd B. received in the 15th year a place as a singer in the choir at the church of St. Michael in Lüneburg. While living there, he often visited Hamburg, Lübeck and Celle, where at that time there were the best musical forces in organ and orchestral playing, opera and concert singing. In 1703, Mr.. B. was appointed court musician (violinist) in Weimar, in 1704 - organist in Arnstadt, from where at the end of 1705, in order to improve himself in playing the organ, he traveled to Lübeck to the famous organist Bugstegude; in 1707 he became organist at Mühlhausen, in 1708 court organist at Weimar, and from 1714 concertmaster. The extraordinary musical talents of B. as a virtuoso were especially evident in Dresden in 1717 under the following remarkable circumstances. In this city, a musical competition was to be held with a worldwide celebrity, the French pianist and organist Marchand, who challenged those who wished to compete with him. On the recommendation of the Saxon accompanist Volumier was called and B. from Weimar. The consequence of B.'s arrival in Dresden was that Marchand, having become acquainted with the forces of his opponent, secretly disappeared from the city just before the competition. Immediately upon his return to Weimar in 1717, B. was appointed by Prince Leopold of Anhalt-Köthen Kapellmeister, and in 1726 "director" of music and cantor in Leipzig, where he lived until his death, suffering at times considerable need. In 1736, Mr.. B. received from the Dresden court the title of Royal Polish and Saxon Electoral Court Composer. He was awarded a special distinction by Frederick II. According to the repeated desires of Frederick II, in 1747 B. was formally invited to the palace in Potsdam, where he was received with great honor. The theme given by the king, on which B. improvised in his presence, he subsequently processed even more and, having printed his work, sent it to the king under the title "Musical Offering" ("Musikalisches Opfer"). B. died July 28, 1750 in Leipzig. As a teacher and virtuoso, he created a whole school of excellent composers, organists and pianists, whose activities spread throughout northern Germany, Saxony and Thuringia. Among them, several sons of B. stand out especially. But no matter how great B.'s merits in theory and practice, nevertheless, above all, one should put that inexhaustible creative wealth that strengthens B.'s eternal glory in posterity. His high art as a contrapuntalist, the nobility of content and the seriousness of his not easily understood compositions make their study extremely useful and fruitful for a true musician. Aware of this, the Leipzig Society named after B. (like the existing "Handel" society) began to publish a complete, luxurious collection of his works; at the same time, the amazing fruitfulness of B.'s work was clearly revealed - and his masses, "Passion" and church cantatas soon became common property, although many of his individual piano and organ works appeared even earlier in several editions. More complete collected works B. published first Peters in Leipzig (with the assistance of Czerny, Griepenkerl and Den) and Haslinger in Vienna. In the 19th century B.'s works were brought to life by Mendelssohn, who took an active part in their public performance. With his mediation, a monument to B. was erected in 1842 in front of the building of the old school at the church of St. Thomas in Leipzig. The first detailed biography of B. placed in the "Music Library" Mitzler for 1754 (volume IV, part I). It was compiled by Agricola, one of B.'s students, and the composer's son Carl Philip. Emmanuel B. This biography is a completely reliable source - and it is especially valuable in the sense of a review and a detailed list of B.'s works. During B.'s life, the following works of his appeared in print: 1) A collection of various works for piano with and without a pedal, under the heading . "Piano Exercise" (Klavierübung), part 1-4, ed. 1726-42; 2) "Musical dedication" written on the theme of Frederick II and dedicated to him (Leipts., 1747); 3) "The Art of the Fugue" (Die Kunst der Fuge), printed in 1752 after the death of B. All church works for singing and orchestra and most of the works written for individual musical instruments remained unpublished until B.'s death. These include: 1 ) five "annual books" of church works for every Sunday and holidays, as well as oratorios, Christmas, Easter, for the Ascension Day, and 5 passions (passion of the Lord); 2) many masses, Magnificats (songs of praise), several "Sanctus", dramas, serenades, compositions on the occasion of births, name days and funerals, wedding masses, as well as several plays of comic content; 3) several motettes for two choirs; 4) "Das wohltemperierte Klavier" (1 part, 1722; 2 hours , 1740); 5) preludes and fugues for organ, chorale preludes, etc. In addition, many different works for various instruments. The later biographies of Bach belong to Forkel (Leipz., 1803), Gilgenfeld (Leipz., 1850), Bitter (2nd ed., 4 vols., Berlin, 1881) and Spitt (2 vol., Leipz., 1873-80). Rod B. originates from Pressburg in Hungary. In addition to Bach, the famous Leipzig cantor, there are several prominent figures in the history of music who bore the same surname.

Henry B. genus. 16 Sept. 1615 in Weimar; from 1681 he was organist in Arnstadt, where he died on July 10, 1691; he was famous as a wonderful artist on the organ, on which he also taught both of his sons; one of them, Yog. Michael B., was the first father-in-law of Johann Sebast. Bach.

Johann Christopher B., brother Yog. Mich. B., born Dec 8 1642 in Arnstadt, from 1665 he was an organist in Eisenach and was considered one of the greatest organ artists and a good counterpoint player of the 17th century. He died on March 31, 1703 to his sons Jog. Nicholas and Yog. He also gave Christopher an excellent musical education.

Of the eleven sons of J.-S. B. were especially remarkable: Wilhelm Friedemann B., born in 1710 in Weimar, the most gifted of all the brothers; he was an organist at St. Sophia in Dresden and then in Halle. After that, he alternately lived in Leipzig, Braunschweig, Göttingen and Berlin, where on July 1, 1784 he ended his life in need. His numerous compositions: sonnets, piano concertos, organ and church pieces are not widely distributed.

Carl Philip Emmanuel B., born in Weimar on March 14, 1714, studied law in Leipzig, from where he went to Frankfurt and Berlin, where he was made in 1740 the court artist of Frederick II and accompanied the king on the piano, playing the flute. In 1767, he moved to Hamburg as a bandmaster - and died here on December 14, 1788. His autobiography is included in Burney's Diary of a Musical Journey (3 vols., Leipz., 1772). B.'s main merit lies in the influence he had on piano performance with his composition "Versuch über die wahre Art, das Klavier zu spielen" (2 volumes, Leipz., 1787-97), as well as in his highly artistic performance and in his writings. These compositions, consisting of symphonies, fantasies, sonatas and rondos, due to the originality of the forms and the freshness of the content, have not lost their significance to this day. His church music deserves less attention, of which the "Sanctus" for two choirs and the oratorio "The Israelites in the Wilderness" are especially famous. See Bitter, "Karl Phil. Emman. and Wilg. Friedem. B. and their brothers" (2 vols., Berlin, 1868).

Johann Christian B., nicknamed Milanese, or English, genus. in sept. 1735, received his musical education in Italy - and wrote operas and vocal compositions. From 1754 he was an organist in Milan, from 1759 a bandmaster in London, where he died on January 1, 1782.

Johann Christoph. Friedrich B., known under the name of Bückeburg, b. June 23, 1732, d. Jan 26 1795, was Kapellmeister of Count Wilhelm of Schaumburg in Bückeburg, wrote several piano and vocal compositions, of which one, more significant, is "The American".

Wilg. Fried. Ernst B., the eldest son of Bückeburg B. and the last offspring of the Bach family, b. May 27, 1759, resided with his uncle Christian B. in London. After his death, in 1798 he took the place of bandmaster in the chapel of the Prussian queen and was a music teacher for the children of Friedrich Wilhelm III. On the death of the queen left this place; died 25 Dec. 1845 Of his few writings, only a few appeared in print.

Bach wrote six "French" and six "English" suites, as well as six partitas, similar in structure to suites (In addition to the clavier suites, there are six suites for solo cello, three partitas for solo violin, a suite for clavier and violin, four "overtures (suites) for orchestra). The names of the suites were given after the death of the composer (“English suites”, according to legend, were created by order of one Englishman. French dances (minuet, burre, gavotte) are widely used in the “French Suites”. It was also noticed that in these suites reflected the manner of writing by French harpsichord composers (Couperin, Rameau)).

Translated from French, the word "suite" means "row", "succession". At the time of Bach, the suite was a piece of music, which consisted of a number of independent pieces - dances. The suites were based on four dances: allemande, courante, sarabande and gigue. Between the sarabande and the gigue, additional dance pieces were usually inserted: minuet, gavotte, bourre and others.

Despite the independence of each part, the suite is perceived as a single piece of music. All the pieces are united by the same tonality. The location of the dances is no less important. Moderate and slow in movement, the dances of the suite alternate with fast ones.

Allemande- an old German four-part dance, known as far back as the 16th century. The Allemande was a solemn group dance. In the 17th century it entered the suite as a dance piece. The allemande in Bach's suite in C minor sounds soft and unhurried. It is distinguished by great melody, singsong voices. Despite the polyphonic warehouse of presentation, the main role here belongs to the upper voice. The allemande is characterized by an overtact.

Courant- mobile French triple dance. In the old days it was performed by a couple of dancers. Like the allemande of the chimes in the suite in C minor, it begins with the lead-in. It is in two voices. The introduction of the second voice each time “prevents” hearing pauses in the first voice, due to which continuity of the melodic movement is achieved. Many pianists emphasize the contrast of the sound of forte and piano voices, thereby, as it were, indicating the presence of two keyboards of the harpsichord - the instrument for which Bach wrote (The harpsichord is the predecessor of our piano. It originates from an instrument close to the harpsichord. The first information about the harpsichord date back to the beginning of the 16th century. Hitting the key of the harpsichord sets in motion a feather that "pinches" the string. The sound is sonorous, abrupt and quickly fades. To amplify the sound, double, triple and even quadruple strings were used, which could be tuned in unison, in an octave etc. Harpsichords with two keyboards (manuals) pursued the same goal.A special device made it possible to connect both keyboards, doubling the sounds in an octave).

Bach wrote six “French” and six “English” suites, as well as six partitas, similar in structure to suites (In addition to the clavier suites, there are six suites for solo cello, three partitas for solo violin, a suite for clavier and violin, four “overtures ” (suites) for orchestra). The names of the suites were received after the death of the composer (“English suites”, according to legend, were created by order of one Englishman. French dances (minuet, burre, gavotte) are widely used in the “French Suites”. It was also noticed that these suites reflected manner of writing by French harpsichord composers (Couperin, Rameau)).
Translated from French, the word “suite” means “row”, “sequence”. In the time of Bach, the suite was a piece of music, which consisted of a number of independent pieces - dances. The suites were based on four dances: allemande, courante, sarabande and gigue. Between the sarabande and the gigue, additional dance pieces were usually inserted: minuet, gavotte, bourre and others. Despite the independence of each part, the suite is perceived as a single piece of music. All the pieces are united by the same tonality. The location of the dances is no less important. Moderate and slow in movement, the dances of the suite alternate with fast ones.
Allemande is an old German four-beat dance, known as far back as the 16th century. The Allemande was a solemn group dance. In the 17th century it entered the suite as a dance piece. The allemande in Bach's suite in C minor sounds soft and unhurried. It is distinguished by great melody, singsong voices. Despite the polyphonic warehouse of presentation, the main role here belongs to the upper voice. The allemande is characterized by an overtact.
Courante is a moving French triple dance. In the old days it was performed by a couple of dancers. Like the allemande of the chimes in the suite in C minor, it begins with the lead-in. It is in two voices. The introduction of the second voice each time “prevents” hearing pauses in the first voice, due to which continuity of the melodic movement is achieved. Many pianists emphasize the contrast of the sound of the forte and piano voices, thereby, as it were, indicating the presence of two keyboards of the harpsichord - the instrument for which Bach wrote (The harpsichord is the predecessor of our piano. It originates from an instrument close to the harpsichord. The first information about the harpsichord date back to the beginning of the 16th century. Hitting the key of the harpsichord sets in motion a feather that "pinches" the string. The sound is sonorous, abrupt and quickly fades. To amplify the sound, double, triple and even quadruple strings were used, which could be tuned in unison, in an octave etc. Harpsichords with two keyboards (manuals) pursued the same goal.A special device made it possible to connect both keyboards, doubling the sounds in an octave.).

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Composition

Bach wrote six "French" and six "English" suites, as well as six partitas, similar in structure to suites (In addition to the clavier suites, there are six suites for solo cello, three partitas for solo violin, a suite for clavier and violin, four "overtures (suites) for orchestra). The names of the suites were given after the death of the composer (“English suites”, according to legend, were created by order of one Englishman. French dances (minuet, bourre, gavotte) are widely used in the “French Suites”. It was also noticed that these suites reflected manner of writing by French harpsichord composers (Couperin, Rameau)).

Translated from French, the word "suite" means "row", "succession". At the time of Bach, the suite was a piece of music, which consisted of a number of independent pieces - dances. The suites were based on four dances: allemande, courante, sarabande and gigue. Between the sarabande and the gigue, additional dance pieces were usually inserted: minuet, gavotte, bourre and others. Despite the independence of each part, the suite is perceived as a single piece of music. All the pieces are united by the same tonality. The location of the dances is no less important. Moderate and slow in movement, the dances of the suite alternate with fast ones.

Allemande is an old German four-beat dance, known as far back as the 16th century. The Allemande was a solemn group dance. In the 17th century it entered the suite as a dance piece. The allemande in Bach's suite in C minor sounds soft and unhurried. It is distinguished by great melody, singsong voices. Despite the polyphonic warehouse of presentation, the main role here belongs to the upper voice. The allemande is characterized by an overtact.

Courante is a moving French triple dance. In the old days it was performed by a couple of dancers. Like the allemande of the chimes in the suite in C minor, it begins with the lead-in. It is in two voices. The introduction of the second voice each time “prevents” hearing pauses in the first voice, due to which continuity of the melodic movement is achieved. Many pianists emphasize the contrast of the sound of forte and piano voices, thereby, as it were, indicating the presence of two keyboards of the harpsichord - the instrument for which Bach wrote (The harpsichord is the predecessor of our piano. It originates from an instrument close to the harpsichord. The first information about the harpsichord date back to the beginning of the 16th century. Hitting the key of the harpsichord sets in motion a feather that "pinches" the string. The sound is sonorous, abrupt and quickly fades. To amplify the sound, double, triple and even quadruple strings were used, which could be tuned in unison, in an octave etc. Harpsichords with two keyboards (manuals) pursued the same goal.A special device made it possible to connect both keyboards, doubling the sounds in an octave.).