![]() ![]() ![]() The house of his birth no longer stands it is not the handsome old structure (Frauenplan 21) acquired by the Neue Bachgesellschaft in 1907 as the ‘Bachhaus’ and established as a Bach Museum. His godfathers were Johann Georg Koch, a forestry official, and Sebastian Nagel, a Gotha Stadtpfeifer. It is supported by the date of baptism (23 March these dates are old-style) in the register of St Georg. The date of Johann Sebastian’s birth, 21 March 1685, was carefully recorded by Walther in his Lexicon, by Sebastian himself in the family genealogy, and by his son as the co-author of the obituary. 22, 71 and 23) and a daughter, Maria Salome. Elisabeth and Ambrosius, who had worked in Eisenach since 1671 as Hausmann and also as a musician at the ducal court of Saxe-Eisenach, were married on 8 April 1668, and had eight children, five of whom survived infancy as well as Johann Sebastian, the last, these were three sons (nos. Elisabeth’s elder half-sister Hedwig Lämmerhirt was the second wife of Ambrosius Bach’s uncle, Johann Bach ( 4), organist of the Predigerkirche in Erfurt. Walther, suggesting that Lämmerhirt blood was perhaps not unimportant for the musical talents of the Bach family’s greatest son. Another Lämmerhirt daughter became the mother of Bach’s cousin J.G. The parents of Johann Sebastian were Johann Ambrosius Bach ( 11) and Maria Elisabeth Lämmerhirt ( 1644–94), daughter of a furrier and town councillor in Erfurt, Valentin Lämmerhirt ( d 1665). Walter Emery, revised by Christoph Wolff.Forkel planned a detailed Bach biography in the early 1770s and carefully collected first-hand information on Bach, chiefly from his two eldest sons the book appeared in 1802, by when the Bach Revival had begun and various projected collected editions of Bach’s works were under way it continues to serve, together with the 1754 obituary and the other 18th-century documents, as the foundation of Bach biography. ![]() Agricola soon after his death and certainly before March 1751 (published as Nekrolog, 1754). The first authentic posthumous account of his life, with a summary catalogue of his works, was put together by his son Carl Philipp Emanuel and his pupil J.F. His musical language was distinctive and extraordinarily varied, drawing together and surmounting the techniques, the styles and the general achievements of his own and earlier generations and leading on to new perspectives which later ages have received and understood in a great variety of ways. While it was in the former capacity, as a keyboard virtuoso, that in his lifetime he acquired an almost legendary fame, it is the latter virtues and accomplishments, as a composer, that by the end of the 18th century earned him a unique historical position. The most important member of the family, his genius combined outstanding performing musicianship with supreme creative powers in which forceful and original inventiveness, technical mastery and intellectual control are perfectly balanced. Latin church music, motets and chorales.D: Source studies: documents, letters etc. ![]()
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