Sechs Chorale von verschiedener Art: auf einer Orgel mit 2 Clavieren und Pedal vorzuspielen, commonly known as the Schübler Chorales, BWV 645–650, is a set of chorale preludes composed by Johann Sebastian Bach. Johann Georg Schübler, after whom the collection came to be named, published it in 1747 or before August 1748, in Zella St. Blasii. At least five preludes of the compilation are transcribed from movements in Bach's church cantatas, mostly chorale cantatas he had composed around two decades earlier.
Julius August Philipp Spitta was a German music historian and musicologist best known for his 1873 biography of Johann Sebastian Bach.
The concerto for two harpsichords in C minor, BWV 1060, is a concerto for two harpsichords and string orchestra by Johann Sebastian Bach. It is likely to have originated in the second half of the 1730s as an arrangement of an earlier concerto, also in C minor, for oboe and violin. That conjectural original version of the concerto, which may have been composed in Bach's Köthen years (1717–1723), is lost, but has been reconstructed in several versions known as BWV 1060R.
Schlage doch, gewünschte Stunde, BWV 53, is an aria for alto, bells, strings and continuo. It was likely composed in the early 18th century, although its date of first performance is unknown. From the second half of the 18th century until the early 1950s the aria was attributed to Johann Sebastian Bach. In 1955, it was suggested by the Bach scholar Karl Anton that the aria's composer was more likely to be a member of Melchior Hoffmann's circle.
The Chromatic Fantasia and Fugue in D minor, BWV 903, is a work for harpsichord by Johann Sebastian Bach. Bach probably composed it during his time in Köthen from 1717 to 1723. The piece was already regarded as a unique masterpiece during his lifetime. It is now often played on piano.
The first major biographies of Johann Sebastian Bach, including those by Johann Nikolaus Forkel and Philipp Spitta, were published in the 19th century. Many more were published in the 20th century by, among others, Albert Schweitzer, Charles Sanford Terry, Christoph Wolff and Klaus Eidam.
Johann Sebastian Bach: His Life, Art, and Work is an early 19th-century biography of Johann Sebastian Bach, written in German by Johann Nikolaus Forkel, and later translated by, among others, Charles Sanford Terry.
Johann Sebastian Bach is a 19th-century biography of Johann Sebastian Bach by Philipp Spitta. The work was published in German in two volumes, in 1873 and 1880 respectively.
The Kyrie–Gloria Mass for double choir, BWV Anh. 167, is a mass composition in G major by an unknown composer. The work was likely composed in the last quarter of the 17th century. The composition has two sections, a Kyrie and a Gloria, each subdivided in three movements. It has twenty-two parts for performers: twelve parts for singers, and ten for instrumentalists, including strings, wind instruments and organ. Johann Sebastian Bach may have encountered the work around 1710, when he was employed in Weimar. In the 1730s he produced a manuscript copy of the Mass.
Johann Sebastian Bach's music has been performed by musicians of his own time, and in the second half of the eighteenth century by his sons and students, and by the next generations of musicians and composers such as the young Beethoven. Felix Mendelssohn renewed the attention for Bach's music by his performances in the 19th century. In the 20th century Bach's music was performed and recorded by artists specializing in the music of the composer, such as Albert Schweitzer, Helmut Walcha and Karl Richter. With the advent of the historically informed performance practice Bach's music was prominently featured by artists such as Nikolaus Harnoncourt, Gustav Leonhardt and Sigiswald Kuijken.
Johann Amadeus Wendt was a German philosopher and music theorist.
Walter Blankenburg was a German Protestant pastor, director of church music and musicologist, who focused in several publications on liturgy, hymnology, and on the sacred music of the early Baroque period, especially by Johann Sebastian Bach.
Georg von Dadelsen was a German musicologist, who taught at the University of Hamburg and the University of Tübingen. He focused on Johann Sebastian Bach, his family and his environment, and the chronology of his works. As director of the Johann Sebastian Bach Institute in Göttingen, he influenced the Neue Bach-Ausgabe (NBA), the second complete edition of Bach's works.
Walther Hermann Vetter was a German musicologist. From 1946 to 1958, he was professor at the Humboldt University of Berlin.
Richard Johannes Petzoldt was a German musicologist and music critic.
Friedrich Konrad Griepenkerl, sometimes known as Friedrich Konrad Griepenkerl, was a German Germanist, pedagogue, musicologist and conductor.
Rudolf Steglich was a German musicologist, music editor and academic teacher, who was professor at the University of Erlangen from 1930 to 1956. His focus was life and music of George Frideric Handel. He was instrumental in the composer's revival from the 1920s, and was from 1955 co-editor of the Hallische Händel-Ausgabe, the critical edition of the composer's complete works.
Gotthold Frotscher was a German music historian and musicologist.
A Bach Temperament refers to the way the composer Johann Sebastian Bach tuned his harpsichords and clavichords for the interpretation, among other pieces, of his masterpiece Das wohltemperirte Clavier .
