Happy Birthday Johann Sebastian Bach

by Hermione Lai, Interlude

Johann Sebastian Bach—one name says it all! On 21 March, we celebrate one of the most revered and influential composers who ever lived. His compositions fill the air with harmony and joy, and his genius continues to inspire the world.

J.S. Bach

Bach’s music has left an indelible mark. From the intricate melodies in his fugues to the emotional depth of his cantatas, Bach’s work pushed the boundaries of what music could express.

Bach’s genius transcends time! His music is a living and breathing testament to the power of creativity and the beauty of sound; they will continue to inspire admiration and awe.

To celebrate his birthday, let’s dive into the wondrous world of his Orchestral Suites, where Baroque brilliance dances with every single note. These timeless masterpieces have enchanted listeners for centuries, and here are the 10 most popular gems that make these suites unforgettable.

Air on a G String (Suite No. 3 in D Major, BWV 1068 “Air” 

We just as well get started with one of Bach’s biggest hits ever. The “Air” from his Suite No. 3 is pure and unadulterated musical magic. Many times we see it referenced as “Air on a G String.” That title is not by Bach but comes from an arrangement fashioned in the 19th century.

The soothing and relatively simple melody is one of the composer’s most serene and timeless works. With its hauntingly delicate strings and serene atmosphere, it sounds like a gentle musical embrace.

In Bach’s original version, the piece is typically played on a single string on the violin, and in the lower register. That warm tone is central to the feeling of calm and elegance. The melody unfolds naturally and almost seems to breathe on its own. It transcends time with its graceful simplicity and profound beauty.

Suite No. 2 in B Minor, BWV 1067 “Badinerie” 

Bach had this unbelievable genius for turning a simple theme into an unforgettable masterpiece. If you need proof, just listen to the “Badinerie” from his 2nd Orchestral Suite. It is one of his most recognisable and frequently performed compositions.

The title “Badinerie” designates a piece of music light-hearted in character. In French it literally means “jesting,” and Bach presents a vibrant and playful piece characterised by a lively tempo and spirited rhythm.

The melody is primarily carried by the flute and seems almost mischievous at times. It dances through a series of short and rhythmic motifs, and Bach cleverly repeats and transforms these ideas to maintain both interest and drive. It is a masterpiece full of energy and charm and presents Bach’s skill in creating a highly dynamic but intricate musical conversation.

Suite No. 1 in C Major, BWV 1066 “Overture” 

One of the all-time Bach favourites, the “Overture” from his 1st Orchestral Suite blends grandeur and elegance in a way that only Bach can. It sets the ceremonial tone for the entire work, and for Bach the title “Overture” generally means “French Overture.”

Musically, that means a slow and majestic introduction followed by a lively and highly contrapuntal section. We can hear the ceremonial dignity in the stately and dotted opening rhythm, but Bach is also building anticipation for the lively section ahead.

Everything starts to dance in the second part, as Bach shifts to a more joyful character with different instrumental voices interacting in lively conversation. The strings lead and create an energetic exchange with the woodwinds and brass. The overture returns to the slow opening rhythm, giving us the impression of having witnessed something noble and celebratory.

Suite No. 3 in D Major, BWV 1068 “Gavotte I & II” 

Nobody dances like Johann Sebastian Bach. For some of his most popular examples we don’t need to look further than the Gavotte movements from his 3rd Orchestral Suite. This Gavotte pair reflects the grace of this courtly dance, which Bach infuses with great musical sophistication.

The first “Gavotte” immediately grabs the listener’s attention. The theme is simple, but it feels luxuriously rich due to Bach’s use of harmony and ornamentation. The upbeat rhythm and evenly spaced phrases provide a natural sense of forward motion.

The second “Gavotte” is a bit more reflective, with a slower and more lyrical quality. The musical texture is more transparent with woodwinds and strings creating moments of dialogue. This movement sounds more introspective, yet always retains a feeling of gracefulness. It’s pure Bach, as he blends rhythmic playfulness with harmonic depth and creates timeless delights.

Suite No. 4 in D Major, BWV 1069 “Bourrée I & II” (Cologne Chamber Orchestra; Helmut Müller-Brühl, cond.)

Monument of J.S. Bach in Eisenach, Germany

Bach was the undisputed master of turning simply dance forms into something both dynamic and sophisticated. If you don’t believe me, just take a listen to the pair of Bourrées from the 4th Orchestral Suite.

Bach’s treatment of these fast-paced and duple-time French dances is brimming with infectious energy captured within an intricate musical structure. The first Bourrée opens with a buoyant and immediately recognisable theme. What a sprightly and straightforward melody that gives this dance a playful and almost conversational feel.

The second Bourrée, while still in the same lively spirit, introduces a bit more contrast with a slightly different character. It opens in a similar fashion, with an energetic, clear melody, but there is a subtle shift in tone with the movement feeling slightly more intricate. Although rooted in the tradition of the Baroque dance, Bach is simply genius by elevating a simple form to a level of enduring artistic expression.

Suite No. 2 in B Minor, BWV 1067 “Rondeau” 

Let’s next feature another favourite lively and charming dance movement. The “Rondeau” from the 2nd Suite is in a basic rondo structure, where a recurring theme alternates with contrasting episodes. It’s all about creating a sense of continuity and variety.

The “Rondeau” theme is bright, rhythmically energetic, and immediately engaging. We can easily feel the strong dance-like pulse, and a feeling of momentum and lightness. And just listen to that delightful and lively conversation between the strings and the woodwinds.

The contrasting episodes are more lyrical but harmonically more complex. With the string section in the background, the woodwinds are given the opportunity to shine by adding colour and texture. The recurring theme sounds familiar and joyful, while the contrasting episodes offer variety and a touch of elegance.

Suite No. 2 in B Minor, BWV 1067 “Sarabande”

J.S. Bach’s Orchestral Suite No. 2 – III. Sarabande

The lively and high-spirited dances in the Bach Orchestral Suites are contrasted by deeply expressive and poignant movements. Such is the case with the “Sarabande,” a slow and elegant dance originating from Spain, from the 2nd Suite.

From the very beginning, this dance radiates a sense of gravity and introspection. In this particular dance the focus falls on the second beat of each measure, creating a slight emphasis. This in turn creates a gentle lilt that drives the movement forward without rushing it.

Bach composes a noble and flowing melody, with long legato phrases providing a vocal-like quality. And astonishingly, every phrase unfolds naturally, inviting the listener into a space of reflection. Bach also adds a harmonically rich tapestry, shifting unhurriedly beneath the long melodic lines. It’s all about the subtle emotional nuances as Bach creates a deeply expressive movement of timeless splendor.

Suite No. 1 in C Major, BWV 1066 “Forlane” 

If you’re looking for a sense of joyous celebration, look no further than the “Forlane” from Bach’s Orchestral Suite No. 1. This dance of Italian origin is typically in a moderate 6/8 metre, and Bach uses this basic structure to create a piece full of rhythmic momentum, melodic charm, and intricate phrasing.

While the overall form is straightforward, Bach deliciously propels the music forward by relying on the natural division of each measure into two groups of three beats. The melody is lively and playful, and it dances across the strings using crisp motifs that often occur in the form of a question and answer.

The harmony moves through major keys providing a sense of openness and warmth with occasional slight harmonic surprises. Unexpected modulations or shifts in tonality add a touch of colour and keep the music from becoming predictable. What a perfect and popular example of Bach’s ability to infuse dance music with both vibrancy and grace.

Suite No. 2 in B minor , BWV 1067 “Polonaise”

Johann Sebastian Bach playing the organ, c. 1881

For a beautiful dance of grace and dignity, let’s turn to the “Polonaise” from the 2nd Orchestral Suite. This dance is charming and expressive, with Bach showcasing a graceful melody, elegant ornamentation, rhythmic vitality, and subtle harmonic shifts.

Since it is written in the minor mode, this dance has a slightly sombre and reflective tone. But not to worry as Bach often brightens the mood with delicious modulations and harmonic shifts. The flute plays a key role, presenting the main theme while the string section provides a rich harmonic backdrop.

The rhythmic drive and moderate tempo allow for a stately procession, while the melodies and ornaments provide a sense of joyful elegance. The dance feels lively by capturing both the grandeur of the courtly setting and the joyful spirit of dance. Bach once again blends technical mastery with musical expressiveness.

Suite No. 3 in D Major, BWV 1068 “Gigue” 

Every good dance needs a rousing finale, and that’s exactly what we get in the “Gigue” from the 3rd Orchestral Suite. The gigue was a very common dance during the Baroque, and its fast pace and often skipping rhythm reflects the joyful spirit of this particular dance form.

The memorable melody in this dance unfolds in long, flowing phrases that are energetic and graceful. Bach adds a number of ornaments to the lively rhythm to add a layer of expressivity and elegance.

What a fantastic, high-energy movement full of rhythmic complexity and joyful exuberance. And just listen to the marvellous interplay between the instruments to create that sense of dialogue and energy. The music is never standing still, and the same can truly be said of Johann Sebastian’s incredible musical mind.

The Orchestral Suites are a radiant celebration of Bach’s elegance and musical ingenuity. Each suite presents a tapestry of contrasting emotions, weaving together joyous dances, delicate melodies, and intricate counterpoint. Together, they stand as some of the most cherished works in Bach’s orchestral repertoire, leaving us with an uplifting sense of musical fulfillment and joy.

Variations on the Goldberg I

by Maureen Buja, Interlude

Johann Sebastian Bach (1685–1750) published his well-known Goldberg Variations, BWV 988, in 1741, in the 4th part of his Clavier-Übung (collection of keyboard music). Its creation story, as told by Bach’s biographer Johann Nikolaus Forkel (1749–1818), wrote that Count Hermann Karl von Keyserling, president of the Academy of Sciences in St. Petersburg and Russian ambassador to the court of Saxony in Dresden, had commissioned the work in 1738 for performance by his protégé, the young harpsichordist Johann Gottlieb Goldberg (1727–1756), to amuse him during his nights of insomnia.

Herman Karl von Keyserlingk

Count Keyserlingk discovered the extremely talented Goldberg when the boy was only age 10 and sponsored him to study with both Johann Sebastian Bach and his oldest son, Wilhelm Friedmann. According to Forkel, writing in 1802, ‘Count Keyserlingk was often ill and suffered from nights of insomnia. During such periods, Goldberg, who lived in his house, had to spend the nights in the next room to play for him. Once the Count told Bach that he would like for his Goldberg some harpsichord pieces of such a light and cheerful character that he, Keyserlingk, could be entertained a little during his sleepless nights. Bach thought that he could best fulfil this wish by writing variations…. The Count later called them only “his” variations. He could never get enough of them, and for a long time, whenever sleepless nights came, he always repeated: “Dear Goldberg, play me one of my variations”.’

Bach composed the work with the idea of Goldberg as the performer, but rumours to the contrary aside did not dedicate the work to either Goldberg or Keyserlingk. The Goldberg Variations takes its name from Goldberg as its first performer.

Goldberg was a talented performer from an early age, and after his study with W.F. and J.S. Bach, his own compositions showed their influence. As the young Goldberg took up the new galant style, his compositions also anticipated works by J.S.’s son, C.P.E. Bach. Goldberg died at the age of 29 of tuberculosis and was declared to be a great loss to the Dresden court. Being in close proximity to his teacher, J.S. Bach, who had been appointed ‘Royal Court Composer’ to the Dresden Court in 1736, Goldberg disparaged his own compositions, often tearing them up, but current reassessment of works such as his harpsichord concertos has done much to show him as an outstanding composer, albeit one who died too young.

The Goldberg Variations, as published in the Clavier-Übung IV, noted the quality of the work: ‘Keyboard exercise, consisting of an ARIA with diverse variations for harpsichord with two manuals. Composed for connoisseurs, for the refreshment of their spirits…’.

J.S. Bach: Clavier-Übung IV, 1741, title page

As described on the title page, the work is a variation set, beginning with an original aria composed by Bach and followed by 30 variations. The aria first appears in 1725 in the Clavierbüchlein copied by Bach’s second wife, Anna Magdalena, and opens with a chaconne bass in its first 8 bars. 

The variations that follow ‘are derived from the harmonic structure and the bass line of the aria and are grouped in threes, every third variation a canon at a higher numerical interval, with the final variation a quodlibet, a hotch-potch seemingly remote from the original aria, which follows in conclusion’.

When heard on harpsichord, the work has a slightly different feel than the more common modern piano recordings. The softness of the piano is replaced by the more brittle sound of the plucked harpsichord, which may explain why Goldberg was described as playing it from a room separate from that holding the insomniac Count. 

We will be looking at the other versions of this work, i.e., the Goldberg in the hands and sounds of other instruments. As a teaser for what will be coming next, here’s the first variation done not by a keyboard instrument but by a vocal group:

SLIXS – “Quer Bach” – Goldberg Variationen, BWV 988, Variation Nr. 1 

This performance is by the German group SLIXS, who describe themselves as an ‘a cappella band’, and who bring all sorts of modern styles to our Baroque familiar.

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Air - Johann Sebastian Bach

Das "Air" von Johann Sebastian Bach aus der 3. Suite für Orchester (D-Dur; BWV 1068), 2. Satz. Einfach zurücklehnen, ins Grüne schauen und genießen. The "Air" by Johann Sebastian Bach from the 3rd orchestral suite (D minor; BWV 1068), 2nd movement. Just lean back, look into the green and enjoy. Photo 2005 by Nebelwarner: Forest at the "Venner Moor" near the city of Senden (German state North Rhine-Westphalia).

What Happened to Bach’s Twenty Children?

By Emily E. Hogstadt, Interlude

Johann Sebastian Bach is, of course, one of the most beloved composers of all time. He’s also famous for having fathered twenty children. A few became famous composers in their own right…but many of them died tragically young, too. Today we’re taking a look at the lives of all twenty of them.

J.S. Bach © biography.com

Maria Barbara Bach was Bach’s first wife (and his second cousin). They were married on 17 October 1707, and they had seven kids.

Catharina Dorothea (1708-1774)

We don’t know a lot about Catharina Dorothea, but we do know she was a singer. In 1730, Bach wrote to a friend, “[My children] are born musicians, and I can already form an ensemble both vocal and instrumental within my family, particularly since my present wife sings a good, clear soprano, and my eldest daughter, too, joins in not badly.” Seems like high praise from Bach, a known perfectionist!

It makes sense that Catharina Dorothea would be a well-trained musician. For many years, all of her surviving siblings were brothers, and she no doubt absorbed the musical instruction offered to boys of the era…and especially to the Bach boys.

Wilhelm Friedemann (1710-1784)

Wilhelm Friedemann Bach, drawing by P. Gulle, 1783
© Berlin State Library

Bach’s eldest son was the inspiration behind Klavierbüchlein für Wilhelm Friedemann Bach, a collection of keyboard music. He studied law and mathematics but ultimately ended up a professional musician and teacher. Despite all of his training, Wilhelm Friedemann never became a wealthy musician, and he died in poverty. 

Twins Johann Christoph and Maria Sophia (1713-1713)

Johann Christoph died the same day that he was born, 23 February 1713. Tragically, his twin Maria only survived a little longer, until March 15.

Carl Philipp Emanuel (1714-1788)

Carl Philipp Emanuel Bach

A little less than a year after Maria Sophia died, Carl Philip Emanuel Bach, later known as C.P.E. Bach, was born. He would prove to be an important link between the Baroque style of music that his father wrote and the next generation’s lighter, more classical approach, as typified by Haydn and Mozart. That said, he was never able to truly escape the giant shadow cast by his father. 

Johann Gottfried Bernhard (1715-1739)

If Johann Gottfried Bernhard Bach wrote any music, none of it has survived. He did, however, study and work as an organist. Unfortunately, it seems that he lived beyond his means (Johann Sebastian once referred to him as “misguided”), and he accumulated debts as a young man. He abandoned music to study law, but before he finished his law training, he died suddenly of a high fever at the age of 24.

Leopold Augustus (1718-1719)

Poor Leopold Augustus died when he was just ten months old, in September 1719.

Less than a year after Leopold Augustus’ death, Maria Barbara Bach died, too. According to an obituary cowritten by C.P.E. Bach, she passed away unexpectedly in July of 1720. To make matters worse, Bach was traveling for work at the time, so he had no warning.

Bach no doubt wanted his surviving children to have a mother figure. On 3 December 1721, they got one when he married Anna Magdalena Wilcke, a singer from a musical family. Anna Magdalena was relatively young compared to Johann: she had just turned twenty, and he was thirty-six. In fact, Anna Magdalena was closer in age to her stepchildren than Bach!

It wasn’t long before she became a biological mom of her own. She and her husband ultimately had thirteen children together, on top of raising the surviving kids from Bach’s first marriage.

Christiana Sophia Henrietta (1723-1726)

She died just after her third birthday.

Gottfried Heinrich (1724-1763)

It appears that Gottfried Heinrich Bach had a mental disability of some kind, as he is described in historic records as “feeble-minded.” However, he played the keyboard very well. Later, instead of embarking on a career of his own, he moved in with his younger sister Elisabeth and her husband.

Christian Gottlieb (1725-1728)

He, like his older sister Christiana, died just after his third birthday.

Elisabeth Juliana Friederica (1726-1781)

We don’t know a tremendous amount about Elisabeth, but we know that she married one of her father’s pupils, an organist named Johann Christoph Altnikol. They named their firstborn Johann Sebastian, but he died in infancy. After her husband died, Elisabeth received money to survive from her half-brother, C.P.E. Bach, who helped to support both her and her disabled brother Gottfried.

Ernestus Andreas (1727-1727)

He only lived for two days.

Regina Johanna (1728-1733)

She died a few months before her fifth birthday.

Christiana Benedicta (1730-1730)

She lived for three days.

Christiana Dorothea (1731-1732)

She died at the age of seventeen months.

Johann Christoph Friedrich (1732-1795)

Johann Christoph Friedrich Bach

Johann Christoph Friedrich was born during a stretch of tragedy for the family, as Johann Sebastian and Anna Magdalena lost child after child. Today he’s known as the Bückeburg Bach, after the town in which he worked. He wrote all kinds of music, from symphonies to sonatas. In 1755 he married a singer, and they had a son named Wilhelm who became a professional composer in his own right

Johann August Abraham (1733-1733)

He only survived for a day.

Johann Christian (1735-1782)

Portrait of Johann Christian Bach in 1776 by Thomas Gainsborough

His dad was fifty years old when Johann Christian Bach was born! He studied with his father for a while, then (perhaps hoping to gain a more modern musical perspective), he studied with his older half-brother C.P.E. Bach, who, given the age difference, probably felt more like an uncle than a brother.

Johann Christian Bach enjoyed a successful career. He lived for many years in Italy and England, and even became Princess Charlotte’s music instructor. (He also converted to Catholicism, which his father, a famously devout Lutheran, probably wouldn’t have been too happy about!) He married a singer and died childless and in poverty. Luckily, Queen Charlotte arranged for a pension for his wife. 

Johanna Carolina (1737-1781)

We know very little about the life of Johanna Carolina. We know that she never married, and that she was only twelve when her father died, and twenty-two when her mother died.

And last but not least…

Regina Susanna (1742-1809)

Five years younger than her next-oldest sibling, Regina Susanna was the only Bach child to live into the nineteenth century. By her old age, she was destitute, and in the early 1800s, the editor of the Allgemeine Musikalische Zeitung printed a notice explaining her circumstances and asking for donations to support her. One of the readers believed to have answered the call? A prickly Vienna-based composer named Ludwig van Beethoven.

Tragically, after Bach’s death in 1750, the surviving sons quarreled, and C.P.E. Bach ended up, as best we know, being the only sibling who ever provided any financial assistance to Anna Magdalena in her widowhood. She, like her youngest daughter, died deep in poverty in 1760 and was buried in an unmarked grave.

The Bach family is the most famous extended family in music history. Understanding the joys and sorrows of its members as reflected in its many births and deaths lends depth to our understanding of all the music they left for future generations.

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Transcript

Follow along using the transcript.