Podcast appearances and mentions of johann christian bach

Nein heißt Nein. Männer verstehen das leider oft nicht und nutzen ihre Männermacht bis heute für sexuelle Übergriffe – wie vor 250 Jahren in der Kantate „Amor vincitore“ von Johann Christian Bach, uraufgeführt 1774 im Rokokotheater Schwetzingen, wo das Drama des vergifteten Pfeils bei den Schwetzinger SWR Festspielen 2025 jetzt erneut inszeniert und zugleich problematisiert wird. Unter anderem im Gespräch mit der Publizistin Stefanie Lohaus erklärt, warum Feminismus stärker ist als Wut – das bisher Erkämpfte aber noch lange nicht reicht. Und was dringend noch erstritten werden muss.

Die Kantate „Amor vincitore“ von Johann Christian Bach wird bei den Schwetzinger SWR Festspielen als Hörtheater inszeniert. Das Werk des jüngsten Bach-Sohnes blieb 250 Jahre ungehört. Jetzt wird es am Ort seiner deutschen Erstaufführung wiederaufgeführt. Mit dabei: der Sopranist Maayan Licht. Doris Blaich spricht mit dem Sänger über seine Rolle, das Stück voller Liebe und Schmerz – und über die von ihm geliebten Triller.

Jego mottem była „oryginalność poprzez niekompetencję. Johann Christian Bach, jego brat, miał powiedzieć, że nigdy nie spotkał kompozytora, którego muzy omijałyby tak szerokim łukiem. Żył na tym samym świecie, co Haydn i Mozart, ale w takich jego rejonach, w które żadnej z nich się nie zapuszczał, szczególnie po zmroku. Mowa oczywiście o P.D.Q. Bachu, najmłodszym i najdziwniejszym synu kantora z Lipska – fikcyjnej postaci stworzonej przez Petera Schickele, jednego z najciekawszych amerykańskich kompozytorów i satyryków, popularnością i sympatią ze strony publiczności dorównującemu Victorowi Borge czy Annie Russel. 16 stycznia Schickele zmarł. Podobnie jak wielu melomanów i ja zawdzięczam mu mnóstwo ciepłych wspomnień o chwilach, gdy śmiałem się do rozpuku z dzieł P.D.Q. Bacha. Postanowiłem więc ten odcinek poświęcić Peterowi Schickele, a także przypomnieć, że oprócz tego, co nas tak bawi, w jego dorobku jest mnóstwo muzyki na poważnie – ponad setka kompozycji, które w dużej mierze dopiero czekają na swoje odkrycie. Podcast powstał dzięki ⁠Mecenasom⁠ Szafy Melomana. Jeśli chcesz stać się jednym z nich i wspierać pierwszy polski podcast o muzyce klasycznej, odwiedź mój profil w serwisie ⁠Patronite.pl⁠. Muzyka w odcinku (fragmenty) 1. P.D.Q Bach, „The Seasonings” cz. VII i VIII., recytatyw i aria „Open Sesame Seeds”, wyk. The Royal P.D.Q. Bach Festival Orchestra, The Okay Chorale, Jorge Mester (dyr.). 2. S. Jones & City Slickers, „Serenade to a Jerk” (1945), BMG Music. 3. P.D.Q Bach, „Last Tango in Bayreuth”, wyk. Tennessee Bassoon Quartet, Telarc 1992. 4. P.D.Q. Bach „Notebook for Betty Sue Bach”, Allemande left i Corrate, wyk. Mary Norris. 5. „Peter Schickele Presents an Evening with P.D.Q. Bach” Vanguard Records 1965 (fragment początku). 6. P.D.Q. Bach, „Erotica Variations”, wariacja IV Lasso d'amore. 7. P. Schickele, I Symfonia „Songlines”, wyk. Louisville Symphony Orchestra, dy. Leonard Slatkin (1996). 8. P. Schickele, „Kwartet na klarnet, skrzypce, wiolonczelę i fortepian, cz. I, wyk. Viklarbo Chamber Ensemble (1994). Zrealizowano w ramach stypendium Ministerstwa Kultury i Dziedzictwa Narodowego. (odcinki w styczniu i lutym stanowią jeszcze realizację stypendium, w ramach którego byłem zobowiązany do nagrania 50 audycji)

durée : 01:58:41 - Le Bach de l'été du dimanche 09 juillet 2023 - par : Corinne Schneider - Une programmation toute nouvelle en première heure avec les Variations Goldberg de Fanny Vincens à l'accordéon, la musique religieuse de Johann Gottlieb Goldberg et une symphonie de Johann Christian Bach ; puis « Les 50 ans de La Petite Bande de Sigiswald Kuijken » (émission n° 227). - réalisé par : Anne-Lise Assada

Donald Macleod explores the life and music of the ‘English Bach' Composer of the Week explores the life and music of the ‘English Bach', Johann Christian Bach, whose blending of German technique with Italian lyricism, in his music, made him not only the leading composer in London but a favourite too with the likes of Mozart. He was the youngest son of J.S. Bach, and the first of Bach's numerous sons to visit Italy where he had lessons with Padre Martini. J.C. Bach spent much time composing sacred music whilst in Italy but he soon got the opera bug and it was a commission for the Haymarket theatre in London which enticed him to travel to England where he remained based for the rest of his life. Bach became a music tutor to members of the Royal family and his operas were soon wowing London audiences. He also set up a famous series of London concerts with another musician, C.F. Abel. Celebrated singers of the age all wanted to perform arias by Bach, and when the Mozart family visited London, Bach became a mentor to the young Wolfgang Amadeus Mozart. J.C. Bach also produced operas for European stages in Paris and Mannheim, and his works became so popular that many pirated editions appeared in print during his lifetime. Music Featured: Symphony in G minor, Op 6 No 6 (excerpt) Magnificat a 4 in C, W E 22 (excerpt) Harpsichord Concerto in F minor, W C73 Laudate pueri, W E 19 (excerpt) Sinfonia in D, Op 3 No 1 Artaserse, T. 217 (Vo solcando un mar crudele) Catone in Utica, W G2 (Overture) Beatus vir, W E 17 (excerpt) Non so d'onde viene (Ezio) Zanaida, W G5 (Overture) Zanaida (Tortorella abbandonata) Keyboard Concerto in D, Op 1 No 6, W C54 Sinfonia in G, Op 3 No 6 Hither turn thy wand'ring eyes Smiling Venus Sextet in C (Allegro) J. C. Bach, arr. W. A. Mozart: Concerto in D Adriano in Siria, T 211 (Cara, la dolce fiamma) Sonata for in G, Op 15 No 5 W A21 Adriano in Siria, T. 211 (Tutti nemici, e rei) Berenice (Confusa, smarrita) Oboe Concerto No 1 in F major, W. C80 (Allegro) Carattaco, T 221 (Fra l'orrore) Endimione, W G 15 (Semplicetto, ancor non sai) Symphony in E flat, Op 9 No 2, W. C19 Temistocle, T 238 (Ch'io parta) Temistocle, T 238 (Overture: Presto) La legge accetto, o Dei, T 234 (Orfeo ed Euridice) Quintet in D, Op 11 No 6 (Allegro) La Clemenza di Scipione, T 229 (Me infelice che intendo) Amadis de Gaule (A qui pourrai-je avoir recours) Missa Da Requiem (excerpt) Keyboard Sonata, Op 17 No 5 Presented by Donald Macleod Produced by Luke Whitlock For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Johann Christian Bach (1735-1782) https://www.bbc.co.uk/programmes/m001mv5p And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Alles andere als brummig: Sophie Dervaux zeigt in einer neuen Aufnahme unbekannter Fagottkonzerte von Johann Christian Bach und Michael Haydn, wie leicht und brillant ein Fagott klingen kann

durée : 01:30:07 - En pistes ! du lundi 03 octobre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - C'est un voyage dans le temps que nous vous proposons pour ouvrir ce mois d'octobre. Un retour en arrière dans la capitale anglaise du XVIIIe siècle quand Carl Friedrich Abel et Johann Christian Bach proposaient des concerts de grands concerts galants. En Piste !

Rory Sutherland is a British advertising executive who became fascinated with behavioral science. Between his TED talks, books and articles, he has become one of the field's greatest proponents. Rory is currently the Executive Creative Director of OgilvyOne, after gigs as vice-chairman of Ogilvy Group UK and co-founder of the Behavioural Sciences Practice, part of the Ogilvy & Mather group of companies. He is the author of The Spectator's The Wiki Man column and his most recent book, which we highly recommend, is Alchemy: The Dark Art and Curious Science of Creating Magic in Brands, Business, and Life. Our discussion with Rory was original published in January 2020, but Rory's evergreen insights continue to be popular with our listeners so we decided to republish this episode. You can also listen to Rory discuss his latest book Transport for Humans: Are We Nearly There Yet? alongside his co-writer Pete Dyson, in episode 290. We start this discussion with Rory by asking him about his book and some of his insights from it. His approach to advertising, marketing and product design is informed by his ability to look for the things that aren't there. He once described a solution to improving customer satisfaction on the Chunnel Train between London and Paris by suggesting that a billion dollars would be better spent on supermodel hosts in the cars than on reducing ride time by 15 minutes. He's a terrifically insightful thinker. Our conversation ran amok down all sorts of rabbit holes, as expected, including ergodicity, Sir Arthur Conan Doyle's “The Silver Blaze,” high-end audio and the dietary habits of the world-famous runner, Usain Bolt. In Kurt and Tim's Grooving Session, we discuss some of our favorite takeaways from Rory's conversation including, “The Opposite of a Good Idea is a Good Idea” and others. And finally, Kurt teed up the Bonus Track with a final reflection and recap of the key points we discussed. As always, we would be grateful if you would write us a quick review. It helps us get noticed by other folks who are interested in podcasts about behavioral science. It will only take 27 seconds. Thank you, and we appreciate your help. © 2022 Behavioral Grooves   Links Rory Sutherland: https://ogilvy.co.uk/people/rorys “Alchemy: The Dark Art and Curious Science of Creating Magic in Brands, Business, and Life”: https://amzn.to/3xbibt3 “Transport for Humans: Are We Nearly There Yet?”: https://amzn.to/3cZPyIy Episode 290, Transport Your Thinking; Why We Need To Reframe Travel | Rory Sutherland & Pete Dyson: https://behavioralgrooves.com/episode/transport-rory-sutherland-pete-dyson/ “Friction”: https://www.rogerdooley.com/books/friction/ Murray Gell-Mann, PhD: https://en.wikipedia.org/wiki/Murray_Gell-Mann Robin Williams “Scottish Golf”: https://www.youtube.com/watch?v=jx8TzR1-n4Q Don Draper: https://en.wikipedia.org/wiki/Don_Draper Ergodicity: https://en.wikipedia.org/wiki/Ergodicity John James Cowperthwaite: https://en.wikipedia.org/wiki/John_James_Cowperthwaite SatNav: https://www.macmillandictionary.com/us/dictionary/american/satnav Daniel Kahneman, PhD: https://en.wikipedia.org/wiki/Daniel_Kahneman What You See is All There Is: https://en.wikipedia.org/wiki/Thinking,_Fast_and_Slow Arthur Conan-Doyle: https://en.wikipedia.org/wiki/Arthur_Conan_Doyle Sherlock Holmes “Silver Blaze”: https://en.wikipedia.org/wiki/The_Adventure_of_Silver_Blaze Tim Houlihan's Blog on “Silver Blaze”: https://tinyurl.com/ufumkj6 Ben Franklin T-Test: https://tinyurl.com/wocdsdk Volkswagen Fighter: https://tinyurl.com/qpyqh87 David Ogilvy: https://en.wikipedia.org/wiki/David_Ogilvy_(businessman) Jock Elliot: https://www.theguardian.com/news/2005/dec/01/guardianobituaries.media Battle of Leyte Gulf: https://en.wikipedia.org/wiki/Battle_of_Leyte_Gulf Croft Audio: http://www.croftacoustics.co.uk/main.html Mu-So single speaker: https://www.naimaudio.com/mu-so WFMT Chicago: https://www.wfmt.com/ TK Maxx: https://www.tkmaxx.com/uk/en/ Berlin Hotel with Big Lebowski: https://www.michelbergerhotel.com/en/ Shure: https://www.shure.com/en-US/products/microphones?lpf[top][types][]=microphones Zoom: https://zoom.us/ Satisficing: https://en.wikipedia.org/wiki/Satisficing Usain Bolt: https://en.wikipedia.org/wiki/Usain_Bolt Sheena Iyengar, PhD: https://www.sheenaiyengar.com/ Jelly Jar Study: https://tinyurl.com/oo6g6eb Big Band Music: https://en.wikipedia.org/wiki/Big_band   Musical Links Aretha Franklin: https://en.wikipedia.org/wiki/Aretha_Franklin Southern California Community Choir: https://en.wikipedia.org/wiki/Southern_California_Community_Choir Abba: https://en.wikipedia.org/wiki/ABBA Felix Mendelssohn: https://en.wikipedia.org/wiki/Felix_Mendelssohn George Frideric Handel: https://en.wikipedia.org/wiki/George_Frideric_Handel Johann Sebastian Bach: https://en.wikipedia.org/wiki/Johann_Sebastian_Bach Johann Christian Bach: https://en.wikipedia.org/wiki/Johann_Christian_Bach

Subscribe to The Locher Room: https://bit.ly/TheLocherRoomPlease join me for An Author's Afternoon live in The Locher Room to meet three talented writers who will be here to share their stories with all of you.Tina Andrews is an author and an actress who appeared in ROOTS and played Valerie Grant on Days of Our Lives. She received a Writers Guild Award for her Sally Hemings: An American Scandal and followed that up with a bio-pic on Jacqueline Bouvier Kennedy Onassis.Andrews is often referenced as a Historical Griot, and her book Charlotte Sophia is a groundbreaking, shocking, and thoroughly timely tale about Queen Charlotte, who is thought to be England's first biracial royal and who is portrayed in the Netflix smash hit Bridgerton. Long before the popular Netflix series, Tina Andrews—a WGA and NAACP Image Award-winning writer, producer, and director—developed an interest in Queen Charlotte. After years of research and writing, she published Charlotte Sophia in 2013, and the book has just been released as an audiobook by Recorded Books.The film and television rights to the book, which covers everything from Queen Charlotte's efforts to conceal her African heritage to her forbidden love for Johann Christian Bach, were recently acquired by HBO Max, with Andrews writing the pilot.Rodger Howard spent over 30 years covering television news in the city of Los Angeles as a photojournalist. He believes that while his profession provides a videographer the opportunity to share stories and experiences with the public, it also carries a tremendous responsibility. Photographers have the obligation to tell the whole story, to provide some perspective and critical information along with visuals.Rodger's book, fOCUS, the (almost 100%) True Tale of an Intrepid News Photographer, is like nothing you've read before. This exciting novel is based on true-life stories of an experienced news videographer named Ron Sharp. Ron's career has highs, lows, grinding boredom and heart-racing excitement, sometimes all in the same day. Beauty, Heroism, Tragedy, and Evil - All part of the job. His novel was released in July 2021.Author R. A. Revis was born and raised in Las Vegas, Nevada and has been a fan of fantasy novels for almost as long as he has been able to read. His first novel, The Dark Times Saga: The Black Forest, is fueled by his fascination of the paranormal and the supernatural, including his love of ancient history and religions. The Dark Times Saga: The Black Forest by R A Revis, was released in July 2021.Dark Times Saga: The Black Forest is a tale of good versus evil, light versus dark, and takes place on a fictional new continent far west of medieval England. It's a story that intertwines myths with reality during an apocalyptic time for the world. The story takes place during a gothic Arthurian age where monsters of myth and legend were all too real and the dawn of science was fast approaching. This novel will appeal to people who enjoyed “Game of Thrones”, “The Witcher”, “Lord of the Rings”, and other fantasy adventure novels with a dark foreboding tale, that include rich believable characters and a setting within a historical backdrop of a grim world filled with horrors that lurk in the night. Original Airdate: 10/13/2021

Ein berühmtes Ölgemälde von Johann Nepomuk della Croce: Mozart und seine Schwester Nannerl (mit Turmfrisur) am Klavier, die Hände überkreuzen sich. Vierhändig-Spielen ist für Mozart seit Kindertagen so selbstverständlich wie Fangenspielen im Garten. Kennengelernt hat er diese besondere Form des Musikmachens bei Johann Christian Bach.

Hola familia mágica, Muchos hermanos compartieron el amor por la música. Vamos a conocer a algunas familias  que no solo fueron hermanos sino compositores.  Fanny y Félix Mendelssohn Los hermanos Bach  Los hermanos Strauss Las hermanas Boulanger   Linka video de caja musical: https://youtu.be/nlPHd1ezgL4 La música de este episodio 00:34  The Hebrides, Op. 26 por Félix Mendelssohn. Interpretado por Hamburg Symphony Orchestra & Alois Springer 02:07  Concerto in E Minor for Violin and Orchestra, Op. 64: I. Allegro molto appassionato (attacca) por Félix Mendelssohn. Interpretado por Jaime Laredo & Scottish Chamber Orchestra.  02:48  A Midsummer Night's Dream, Op. 61: III. Wedding March por Félix Mendelssohn. Interpretado por Rochester Philharmonic Orchestra & Theodore Bloomfield.  03:21  Songs Without Words, Op. 62: Spring Song in A Major (Allegro grazioso) por Félix Mendelssohn. Interpretado por Anton Nanut & RTV Slovenia Symphony Orchestra.  04:10  The Hebrides, Op. 26 por Félix Mendelssohn. Interpretado por Hamburg Symphony Orchestra & Alois Springer 05:30  Presto für eine Spieluhr Nr. 30 por C.P.E. Bach. Interpretado por Bernhard Schneider an der Klais-Orgel von St. Aegidien, Braunschweig. 07:25  Concerto for Pianoforte Op. 13 No. 6 in E flat por Johann Christian Bach. Interpretado por Anders Muskens & Das Neue Mannheimer Orchester. 08:44  On the Beautiful Blue Danube, Op. 314 por Johann Strauss II. Interpretado por David Parry & London Philharmonic Orchestra.  11:33  3 Pieces for cello and piano por Nadia Boulanger. Interpretado por Dora Kuzmin & Petra Gilming.   Si te gusta el episodio, califícalo en tu app favorita  o puedes dejar tu review. :)  No te pierdas ningún episodio. Suscríbete a la newsletter en allegromagico.com/suscribirme y aprendan conmigo sobre música clásica. Síguenos en: Facebook, Twitter, Instagram y Pinterest.  Web: allegromagico.com    ¿Quieres aprender lo básico de música clásica de forma fácil? Checa nuestra guía para jóvenes y adultos.  ¿Ya han escuchado tus niños uno de los cuentos musicales más llamativos que existen? Las Cuatro Estaciones de Vivaldi es una obra ideal para niños. 

Concierto/Viernes Temáticos: Mozart a través de sus cartas (IX). Londres, 1764. Junto al Bach inglés. . Presentación a cargo de Jesús Cruz Valenciano: "El surgimiento de la cultura del ocio en Europa". En 1764 los Mozart llegaron a Londres, frenética ciudad en la que el pequeño Wolfgang gozó de la protección de Johann Christian Bach, quien ejercería una gran influencia sobre su obra. Al conocer su muerte en 1782, Mozart lamentó: “¡una gran pérdida para el mundo de la música!”. Explore en canal.march.es el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Jess Gillam and composer Ella Jarman-Pinto share the music they love, with life-affirming tunes from Anna Meredith, Flora Purim and Jungle. Beauty in simplicity from Howard Skempton and Luke Howard, fire passion and grit from Elizabeth Maconchy and a little moment of comfort from Johann Christian Bach. Playlist: Anna Meredith – Sawbones Johann Christian Bach – Sonata No.5 in A Major, Op. 17, No. 5: I. Allegro [Daniil Trifonov, piano] Elizabeth Maconchy - Quartet for strings no. 1, 1st movement; Allegro feroce [Hanson String Quartet] Jungle - Keep Moving Howard Skempton - Lento [BBC Symphony Orchestra, Mark Wigglesworth] Alberto Iglesias - Los Vestidos Desgarrados Flora Purim – This Is Me Luke Howard - Portrait Gallery

Der Franziskanermönch Padre Giovanni Battista Martini brachte nicht nur Wolfgang Amadeus Mozart, sondern vielen anderen jungen Musikern aus den Ländern Europas die höheren Gesetzmäßigkeiten des Komponierens bei. Am liebsten verbrachte Martini seine Zeit allein in der Bibliothek. Ungern ließ er sich beim Studieren stören, nur seinen Schülern blieb er - neben seinen Glaubensbrüdern - stets zugänglich. Der jüngste Bachsohn Johann Christian reihte sich 1757 im Alter von 22 Jahren in die Schülerschar Padre Martinis ein.

IN diesem ZOOM geht es um Johann Christian Bach, den jüngsten Sohn von Johann Sebastian Bach. Der lebte ab 1762 in London. London war damals eine DER Opernmetropolen in Europa und wurde vor allem von Georg Friedrich Händel geprägt. Und auch Johann Christian machte dort Karriere: Er wurde der "Music Master", also Musiklehrer der Gattin von König Georg III. Locker hätte er bei den Royals am Hof wohnen können, aber er bevorzugte eine anderen Wohnort. Ihn zog es in eine WG - zu seinem Landsmann, dem Gambenspieler Carl Friedrich Abel.

Dhamma talk and Q&A session (#3) offered by Venerable Ajahn Sucitto, former abbot of Wat Cittaviveka in England, a monastery in the Thai forest tradition of Ajahn Chah https://www.cittaviveka.org 'Buddhism and Environmental Concern' 6th December, 2019 (18.30 - 20.00) Meditation Hall Buddhadāsa Indapañño Archives, Bangkok For other teachings by Ajahn Sucitto, please visit: https://ajahnsucitto.org/ https://forestsangha.org/teachings/bo... https://www.cittaviveka.org/index.php... https://sucitto.blogspot.com/ About Ven. Ajahn Sucitto: Ajahn Sucitto was born in London in 1949. Before entering monastic life, he graduated from England's University of Warwick with a degree in English and American Literature in 1971. He spent a few years following the lifestyle of the alternative culture of the time, before heading overland to India in 1974 on a spiritual quest. This eventually landed him in Thailand in 1975, where he was inspired by a meditation class in English in Wat Meung Maung given by an English monk, Phra Alan Nyānavajīro. Sensing an important turn in his spiritual journey, Sucitto entered the monastery where Phra Nyānavajīro lived: Wat Kiriwong in Nakhon Sawan. On 25 September he took samanera precepts and on 22 March 1976 he was ordained as a bhikku, both in Wat Potharam in Nakhon Sawan. A chance sojourn at Wat Umong in Chiang Mai in December 1976 brought Ajahn Sucitto into contact with (now) Luang Por Sumedho, who was passing through Chiang Mai at the time. This was an auspicious encounter, as it prepared the ground for Ajahn to visit Luang Por in Hampstead when he visited England in 1978. Luang Por had taken up residence in the Hampstead Buddhist Vihara in 1977, and readily accepted Ajahn Sucitto as a disciple. Ajahn trained under Luang Por for much of the ensuing fourteen years. In 1979, Ajahn Sucitto was part of the group that established Cittaviveka Forest Monastery in Chithurst, West Sussex. He lived there for the greater part of his monastic life and was its abbot from 1992 to 2014. He began teaching retreats for laypeople after the Rains Retreat of 1981 and has continued to teach retreats in Britain and overseas ever since. + Risparmio in cucina aloap 1 + Lucie Medici 00:20 Haul Per La Casa (primavera!) + chiacchiere 23:55 Gosling 00:07 Bagaglio A Mano (2015) + Emanuela Torri: Letture Casalinghe N°36 fase 3 Il Vangelo di Gesu' di Paramahansa Yogananda + La Voce delle Sirene con Antonietta Laterza 00:16 LA VOCE DELLE SIRENE 1: Antonietta legge Osho + Radionotizie 6 + I RITRATTI DEL MUSEO DELLA MUSICA DI BOLOGNA Presentazione del volume I ritratti del Museo della Musica di Bologna. Da Padre Martini al Liceo musicale, a cura di Lorenzo Bianconi et al. (Firenze, Olschki, 2018) Intorno al 1770 il francescano Giambattista Martini (1706-1784) avviò nel convento di San Francesco in Bologna una raccolta di ritratti di musicisti, contemporanei e del passato. Tra i tanti pezzi prelibati che l'insigne teorico, erudito e storico della musica seppe attrarre da ogni parte d'Italia e d'Europa spiccano – per citare soltanto i più famosi – il Johann Christian Bach di Thomas Gainsborough, il Farinelli di Corrado Giaquinto, un ritratto di Mozart ventunenne, oltre al trompe-l'œil degli scaffali di libreria di Giuseppe Maria Crespi. + IL MONDO DI MAURIZIO DEEJAY + TARARI .... TARARA + 21_luglio_2021_mamma_helga_basta_devi_rassegnarti + 2a_p_te_21_luglio_2021_mamma_helga_basta_devi_rassegnarti --- Send in a voice message: https://anchor.fm/radiovrinda/message Support this podcast: https://anchor.fm/radiovrinda/support

Oudemuziekkenner Kees Koudstaal schotelt u de mooiste en recentste CD’s met oude en klassieke muziek voor. Een zomeraflevering met aandacht voor de cd's ‘Bach Sons' van Concerto Corrente, ‘Romberg Violin Concertos' van Capriccio Barockorchester en ‘Anton Schweitzer – Die Auferstehung Christi, Missa Brevis & Cantata’ van Thüringer Bach Collegium.   1. Johann Christian Bach (1735-1782) […]

Na atual temporada do nosso podcast Filarmônica no Ar, que traz o tema “A orquestra no tempo”, fazemos uma parada no período Pré-clássico, responsável por importantes alterações na música barroca que levaram ao desenvolvimento da música orquestral. Para nos ajudar a contar este novo capítulo da história, nosso Percussionista Principal, Rafael Alberto, conversa com Celso Antunes, regente e professor da Escola Superior de Música de Genebra. Complementando as informações, nosso Regente Assistente, José Soares, fala do contexto histórico da época no quadro “Situe-se”. Neste episódio, narrado pela nossa arquivista Ana Kobayashi, você ouvirá trechos de obras de compositores marcantes do período, como Luigi Boccherini, Johann Christian Bach e Carl Stamitz. Confira nossa playlist com obras selecionadas no Spotify: http://fil.mg/playlist Acesse nossa linha do tempo com vídeos selecionados do YouTube: http://fil.mg/linhadotempo Esta temporada do podcast Filarmônica no Ar é apresentada pelo Ministério do Turismo, Governo de Minas Gerais e Aliança Energia por meio da Lei Federal de Incentivo à Cultura. Realização: Instituto Cultural Filarmônica, Secretaria Estadual de Cultura e Turismo de MG, Governo do Estado de Minas Gerais, Secretaria Especial da Cultura, Ministério do Turismo e Governo Federal.

Programa dedicado a la vida, obra, influencia y legado a la música de Johann Christian BachProducción:Karla LedezmaDirección:Dra. Irma Susana Carbajal VacaGuion:Joshua Daniel Mayorga Mata, Sharen Michel García Moreno, José Octavio Reyes Robledo y Yael Alejandro Carreón González.Selección Musical:Joshua Daniel Mayorga Mata, Sharen Michel García Moreno, José Octavio Reyes Robledo y Yael Alejandro Carreón González.Locución:Joshua Daniel Mayorga Mata, Sharen Michel García Moreno, José Octavio Reyes Robledo y Yael Alejandro Carreón González.Operador Técnico:Alejandra de los Ríos en Radio UAA, Karla Ledezma en plataformas digitales.Género:Análisis, biográfico, educación.Año de Producción: Febrero, 2021Fecha de emisión: 4 de abril del 2021

En este lunes de enero tenemos el placer de poder volver al formato normal y original: después de varios episodios a distancia, David Antón y Pau Hernández pueden reunirse en el mismo lugar y a la misma hora para grabar y traeros a todos este programa tan especial. Hoy hablamos de los hijos de Johann Sebastian Bach, en especial de los que se dedicaron a la música. Las vidas y las obras de Wilhelm Friedemann Bach, Carl Phillip Emanuel Bach, Johann Christoph Friedrich Bach y Johann Christian Bach nos sirven para ilustrar una época muy interesante como son los años medios del siglo XVIII, de manera que nos queda un podcast realmente fluido, sobre todo a partir del tercer hijo. Tras esto, Fígaro nos trae 5 pistas nuevas para sus Figarinanzas Musicales, que esconden a todo un señor (o así lo dijo Stewie Wonder), y al final, PauCálogos Musicales es una charla sobre música y músicos con el crítico musical y escritor Pedro González Mira. Agudas reflexiones y divertidas anécdotas son algunos de los conocimientos musicales que este autor, una de las voces musicales más autorizadas del panorama nacional, nos deja en esta entrevista. Sólo resta que le des al "Play" y empieces a disfrutar este episodio de ¡CONOCIMIENTOS MUSICALES!

durée : 00:25:03 - Johann Christian Bach Concerto en ré majeur op. 13 n°2 - par : Anne-Charlotte Rémond - Le 11e fils du grand Jean-Sébastien fut un des plus ingénieux représentants du "style galant" de la fin du XVIIIe siècle. Le 2e concerto pour clavier de l'op. 13 est un des plus beaux fleurons du genre. - réalisé par : Philippe Petit

Today’s episode is with American dancer and choreographer, Kyle Abraham. Born in Pittsburg, Pennsylvania, into a home of loving and supportive parents, Kyle’s family instilled in him the sense that he could do and achieve anything. He discovered his love for dance in his late teens after being cast in his highschool musical, Once on This Island, later receiving his Bachlors of Fine Arts from SUNY Purchase and his Masters in Fine Arts from New York University.  This all sounds lovely and quaint, but Mr. Abraham is a force to be reckoned with. After performing with a number of prestigious companies, including the Bill T. Jones/Arnie Zane Company, he founded his own namesake company in 2006: Abraham in Motion, now known as AIM. And it is here, where Kyle has created many of his critically acclaimed pieces including ‘The Radio Show’ and ‘Pavement’ which, inspired by John Singleton’s 1991 film, Boyz In The Hood,truly exemplifies his seemingly eclectic style. Like a writer of prose, Kyle weaves together memories of his childhood in Pittsburgh along with the impact of violence within black communities , with a dash of WEB Dubois, with a dose of Jacquel Brel and Johann Christian Bach. He’s choreographed for The Alvin Ailey American Dance Theater and New York City Ballet. He’s worked with Misty Copeland and Beyonce. He’s a Princess Grace Statue award recipient, and a Doris Duke award recipient, and a Bessie Award recipient, and a United States, Artist Fellow, and a Macarthur “Genius” Fellow and, well, you get the picture.  Recorded safely and remotely, this conversation explores Kyle’s journey to dance, how he deals with his own insecurities, what it’s like being fired by one of your heroes, how to balance empathy and ambition, and his journey back to dance after an extended hiatus. It is with great pleasure to introduce to you, a master of his craft, Kyle Abraham, to the IBI podcast. Here are some highlights: On his relationship with dance: “Dance is actually my longest relationship, sometimes an unhealthy one but um I think I’m actually in love with dance in some way.” On the question dance answers for him: “It’s really a question of who I am and how I feel um because we hold so much history in our bodies and along with that history we can hold so much joy, sure, but a lot of sadness for someone like me um and a lot of struggle and I think you can see that when you watch me dance, the struggle.” On how he deals with insecurities: “For me, it’s honoring my parents and those aunts and uncles that, you know, aren’t blood relatives but you still call them aunt and uncle. And so thinking about how they interacted with each other in the early to mid 80’s um just trying to live in the richness of kind of ownership that they possessed um so you can’t really be insecure and do that successfully.” Kyle's Instagram: https://www.instagram.com/kyle_abraham_original_recipe/ (@kyle_abraham_original_recipe) A.I.M. Website: http://aimbykyleabraham.org (aimbykyleabraham.org) Thank you for tuning in! Please don't forget to rate, comment, subscribe and SHARE with a friend (https://www.instagram.com/blackimaginationpodcast/ (@blackimaginationpodcast)). Support this podcast: https://anchor.fm/blackimagination/support (anchor.fm/blackimagination/support) Editorial content provided by Kalimah Small. Support this podcast

durée : 00:05:59 - Johann Christian Bach, organiste et compositeur - par : Marc-Olivier Dupin - C'est son anniversaire, ce samedi 5 septembre. Organiste et compositeur, le petit dernier a pris son envol dans l'Europe des Lumières, ami de Gainsborough et modèle pour Mozart, il a énormément composé pour la voix et les chœurs...

durée : 01:28:23 - Musique matin, samedi du samedi 05 septembre 2020 - par : Saskia de Ville - réalisé par : Davy Travailleur

Wolfgang Amadeus Mozart en zijn vader Leopold zaten in het publiek. Het is 1765. In Londen is de opera ‘Adriano in Siria’ van Johann Christian Bach een groot succes. Of beter: John Bach zoals hij zich noemt. Bach’s jongste zoon is wellicht de beroemdste componist van zijn tijd, reden genoeg voor Leopold om met zijn zoon ‘Wolfje’ naar Londen te gaan, en daar o.a. het vak te leren. Johann Christian Bach, Adriano in Siria: Ouverture, Hannover Band olv Anthony Halstead

Rory Sutherland is a British advertising executive who became fascinated with behavioral science. Between his TED talks, books and articles, he has become one of the field’s greatest proponents. Rory is currently the Executive Creative Director of OgilvyOne, after gigs as vice-chairman of Ogilvy Group UK and co-founder of the Behavioural Sciences Practice, part of the Ogilvy & Mather group of companies. He is the author of The Spectator’s The Wiki Man column and his most recent book, which we highly recommend, is Alchemy: The Dark Art and Curious Science of Creating Magic in Brands, Business, and Life. We started our discussion with Rory by asking him about his new book and some of his insights from it. His approach to advertising, marketing and product design is informed by his ability to look for the things that aren’t there. He once described a solution to improving customer satisfaction on the Chunnel Train between London and Paris by suggesting that a billion dollars would be better spent on supermodel hosts in the cars than on reducing ride time by 15 minutes. He’s a terrifically insightful thinker. Our conversation ran amok of all sorts of rabbit holes, as expected, including ergodicity, Sir Arthur Conan Doyle's “The Silver Blaze,” high-end audio and the dietary habits of the world-famous runner, Usain Bolt. In Kurt and Tim’s Grooving Session, we discuss some of our favorite takeaways from Rory’s conversation including, “The Opposite of a Good Idea is a Good Idea” and others. And finally, Kurt teed up the Bonus Track with a final reflection and recap of the key points we discussed. As always, we would be grateful if you would write us a quick review. It helps us get noticed by other folks who are interested in podcasts about behavioral science. It will only take 27 seconds. Thank you, and we appreciate your help.  © 2020 Behavioral Grooves   Links Rory Sutherland: https://ogilvy.co.uk/people/rorys “Alchemy: The Dark Art and Curious Science of Creating Magic in Brands, Business, and Life”: https://www.harpercollins.com/9780062388414/alchemy/ “Friction”: https://www.rogerdooley.com/books/friction/ Murray Gell-Mann, PhD: https://en.wikipedia.org/wiki/Murray_Gell-Mann Robin Williams “Scottish Golf”: https://www.youtube.com/watch?v=jx8TzR1-n4Q Don Draper: https://en.wikipedia.org/wiki/Don_Draper Ergodicity: https://en.wikipedia.org/wiki/Ergodicity John James Cowperthwaite: https://en.wikipedia.org/wiki/John_James_Cowperthwaite SatNav: https://www.macmillandictionary.com/us/dictionary/american/satnav Daniel Kahneman, PhD: https://en.wikipedia.org/wiki/Daniel_Kahneman What You See is All There Is: https://en.wikipedia.org/wiki/Thinking,_Fast_and_Slow Arthur Conan-Doyle: https://en.wikipedia.org/wiki/Arthur_Conan_Doyle Sherlock Holmes “Silver Blaze”: https://en.wikipedia.org/wiki/The_Adventure_of_Silver_Blaze Tim Houlihan’s Blog on “Silver Blaze”: https://tinyurl.com/ufumkj6 Ben Franklin T-Test: https://tinyurl.com/wocdsdk Volkswagen Fighter: https://tinyurl.com/qpyqh87 David Ogilvy: https://en.wikipedia.org/wiki/David_Ogilvy_(businessman) Jock Elliot: https://www.theguardian.com/news/2005/dec/01/guardianobituaries.media Battle of Leyte Gulf: https://en.wikipedia.org/wiki/Battle_of_Leyte_Gulf Croft Audio: http://www.croftacoustics.co.uk/main.html Mu-So single speaker: https://www.naimaudio.com/mu-so WFMT Chicago: https://www.wfmt.com/ TK Maxx: https://www.tkmaxx.com/uk/en/ Berlin Hotel with Big Lebowski: https://www.michelbergerhotel.com/en/ Shure: https://www.shure.com/en-US/products/microphones?lpf[top][types][]=microphones Zoom: https://zoom.us/ Satisficing: https://en.wikipedia.org/wiki/Satisficing Usain Bolt: https://en.wikipedia.org/wiki/Usain_Bolt Sheena Iyengar, PhD: https://www.sheenaiyengar.com/ Jelly Jar Study: https://tinyurl.com/oo6g6eb Big Band Music: https://en.wikipedia.org/wiki/Big_band   Musical Links Aretha Franklin: https://en.wikipedia.org/wiki/Aretha_Franklin Southern California Community Choir: https://en.wikipedia.org/wiki/Southern_California_Community_Choir Abba: https://en.wikipedia.org/wiki/ABBA Felix Mendelssohn: https://en.wikipedia.org/wiki/Felix_Mendelssohn George Frideric Handel: https://en.wikipedia.org/wiki/George_Frideric_Handel Johann Sebastian Bach: https://en.wikipedia.org/wiki/Johann_Sebastian_Bach Johann Christian Bach: https://en.wikipedia.org/wiki/Johann_Christian_Bach  

Johann Christian, Bach’s jongste zoon, was amper 20 toen hij arriveerde in Milaan, katholiek werd (zijn vader draaide zich waarschijnlijk om in zijn graf) en zelfs organist van de Dom van Milaan. In 1760 componeerde hij zijn derde Magnificat voor gebruik in de Milanese Dom. Johann Christian Bach, Magnificat T.207, nr.3, Ensemble Arcangelo olv Jonathan

In Ep. 30, we see Johann Christian Bach round out his time in Italy by planning a new trip to London. While in London, he became immensely famous and was even given a position in the royal household of King George III and his Queen, Charlotte. Johann Christian, or as he preferred to be called, John, enjoyed a swift rise to fame. It lasted for nearly two decades, but as tastes began to change his demise came just as fast. Unable to stomach the loss of his glory, John died a broken man, mourned only by his wife and few remaining friends.  The App!  https://apps.apple.com/us/app/the-great-composers-the-gcp/id1465809545?fbclid=IwAR0tQTElluT8I3jn6SYFcQst70IY0Ym52LjEz1Z3DR11oq5ZGDLV_URNyHk&ls=1 Music heard in this episode: (All composed by J.C. Bach unless otherwise noted) 1. Symphony in E-flat major, op. 3, no. 4, mvt. 1 2. Symphony in E-flat major, op. 3, no. 4, mvt. 1 cont. 3. Sonata for two keyboards in G major, op. 15, no. 5 4. Twelve Variations on "Ah vous dirai-je, Maman", theme, by W.A. Mozart 5. Twelve Variations on "Ah vous dirai-je, Maman", finale, by W.A. Mozart 6. Orfeo, Minuet, by Christoph Gluck 7. Symphony in G minor, op. 6, no. 6, mvt. 1 For all things GCP Please rate, review, and subscribe on iTunes! Like our Facebook page too! https://www.facebook.com/thegreatcomposerspodcast/ A complete bibliography for all episodes can be found on my website: www.kevinnordstrom.com

In Ep. 28, we take a closer look at the life of Anna Magdalena Wilcke, beloved second wife of Sebastian Bach. Anna came from a long line of musicians, and was an accomplished musician herself. At the age of 20, or possibly sooner, she attained a coveted position as soprano in the Cöthen Capelle then under Sebastian's direction, who often featured her as a soloist. After their marriage in 1721 and subsequent move to Leipzig, she was a key player in the Bach family business, teaching students, copying music, making sure everyone was practicing, and generally keeping things in good working order. She was also the step-mother of Bach's two famous sons by Maria Barbara, Friedemann and Emanuel, seeing them through difficult adolescent years, and mother to one of the most brilliant and influential composers of the 18th century, Johann Christian Bach, who was worshipped by no less a figure than Wolfgang Amadeus Mozart. Our App!  https://apps.apple.com/us/app/the-great-composers-the-gcp/id1465809545?fbclid=IwAR0tQTElluT8I3jn6SYFcQst70IY0Ym52LjEz1Z3DR11oq5ZGDLV_URNyHk&ls=1 Music heard in this episode: Organ Trio Sonata in G major, BWV 530, mvt. 1, arr. Michael Way Cantata No.51 - I. Jauchzet Gott in allen Landen.2 Brandenburg Concerto no. 4 in G major, BWV 1049, Presto Partita no. 5 in G major, BWV 829, mvt. 6 Passapied, arr. Michael Way Ice run zu dir, Herr Jesu Christ, BWV 639, arr. Michael Way Organ Trio Sonata in G major, BWV 530, mvt. 3, arr. Michael Way   Tracks 1, 4, 5, 6 Stephen Nordstrom - Violin Kevin Nordstrom - Viola Michael Way - Cello, arranger

In this episode we take a very shallow dive into Mundane Matt's recent fall from grace. Accompanying music is Suite for Violin, 7 Lyric Song, lento composed by Dumitru Bughici, Brandenburg Concerto no3 mvt3 allegro composed by Johann Christian Bach, and a cd of dollar store home spa music.

Thomas Fritzsch (Viola da Gamba), Daniel Deuter (Violine), Go Arai (Oboe), Inka Döring (Violoncello)

The towering music of Johann Sebastian Bach was not in fashion during his lifetime; he was known mainly for his exceptional organ playing. But it was his sons Carl Philipp Emanuel Bach and Johann Christian Bach who were the megastars and paved the way for the Classical period of Mozart and Haydn. JSB must have been a proud poppa. Also, how silence can break your heart. And what did Miles Davis mean when he said, "Never play the root"? contact the show at: YCCB@mauriceriverpress.com The Miles Davis reference comes from a Mark Maron WTF podcast interview of Paul Schaefer. Caution--the language is explicit. http://www.wtfpod.com/podcast/episode-797-paul-shaffer

Rev. Dr. Robert Allan Hill preaches a sermon entitled "Intimations of a Beloved Community". The Marsh Chapel Choir sings "Life up your heads" by Orlando Gibbons and "Der Gerechte, ob er gleich zu zeitlig stirbt" by Johann Christian Bach along with service music and hymns.

Rev. Dr. Robert Allan Hill preaches a sermon entitled "Intimations of a Beloved Community". The Marsh Chapel Choir sings "Life up your heads" by Orlando Gibbons and "Der Gerechte, ob er gleich zu zeitlig stirbt" by Johann Christian Bach along with service music and hymns.

JS Bach's - Goldberg Variations #5Our version of JS Bach's - Goldberg Variations #5blessings,Shiloh Worship MusicThe Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variationsare named after Johann Gottlieb Goldberg, who may have been the first performer.Johann Sebastian Bach from WikipediaJohann Sebastian Bach[1] (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist of the Baroque Period. He enriched many established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach wrote much music that was revered for its intellectual depth, technical command, and artistic beauty. Many of his works are still known today, such as the Brandenburg Concertos, the Mass in B minor, the Well-Tempered Clavier, and his cantatas, chorales, partitas, passions, and organ works.Bach was born in Eisenach, Saxe-Eisenach into a very musical family; his father, Johann Ambrosius Bach was the director of the town's musicians, and all of his uncles were professional musicians. His father taught him to play violin and harpsichord, and his brother, Johann Christoph Bach taught him the clavichord and exposed him to much contemporary music.[2][3] Bach also sang, and he went to the St Michael's School in Lüneburg because of his skill in voice. After graduating, he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, Cantor of Thomasschule in Leipzig, and Royal Court Composer to August III.[4][5] Bach's health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia.[6][7][8]Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque period, and as one of the greatest composers of all time.[9]LifeChildhood (1685–1703)Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt.[10] He was the eighth child of Johann Ambrosius; the eldest son in the family was 14 at the time of Bach's birth.[11] His father taught him violin and harpsichord.[12] His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645–93), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist. Bach drafted a genealogy around 1735, titled "Origin of the musical Bach family".[13]Bach's mother died in 1694, and his father died eight months later.[5] Bach, 10, moved in with his oldest brother, Johann Christoph Bach (1671–1721), the organist at the Michaeliskirche in Ohrdruf, Saxe-Gotha-Altenburg.[14] There he studied, performed, and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly.[15][16] He received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied)[2] and Johann Jakob Froberger; North German composers;[3] Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais; and the Italian clavierist Girolamo Frescobaldi. Also during this time, he was taught theology, Latin, Greek, French, and Italian at the local gymnasium.[17]At the age of 14, Bach, along with his older school friend George Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in Lüneburg in the Principality of Lüneburg.[18] Although it is not known for certain, the trip was likely taken mostly on foot.[17] His two years there were critical in exposing him to a wider facet of European culture. In addition to singing in the choir he played the School's three-manual organ and harpsichords.[17] He came into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in other disciplines.Although little supporting historical evidence exists at this time, it is almost certain that while in Lüneburg, Bach visited the Johanniskirche (Church of St. John) and heard (and possibly played) the church's famous organ (built in 1549 by Jasper Johannsen, and played by Georg Böhm). Given his musical talent, Bach had significant contact with prominent organists of the day in Lüneburg, most notably Böhm, but also including organists in nearby Hamburg, such as Johann Adam Reincken.[19]Weimar, Arnstadt, and Mühlhausen (1703–08)In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen,[20] Bach was appointed court musician in the chapel of Duke Johann Ernst in Weimar. His role there is unclear, but likely included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ, and give the inaugural recital, at St. Boniface's Church in Arnstadt, located about 40 km southwest of Weimar.[21] In August 1703, he became the organist at St Boniface's, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys to be used.Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employer was upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 1705–06, to visit the great organist and composer Dieterich Buxtehude and his Abendmusiken at the Marienkirche in the northern city of Lübeck. The visit to Buxtehude involved a 400 kilometre (250 mi) journey on foot each way. The trip reinforced Buxtehude's style as a foundation for Bach's earlier works. Bach wanted to become amanuensis (assistant and successor) to Buxtehude, but did not want to marry his daughter, which was a condition for his appointment.[22]In 1706, Bach was offered a post as organist at St. Blasius's in Mühlhausen, which he took up the following year. It included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. They had seven children, four of whom survived to adulthood, including Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach who both became important composers as well. Bach was able to convince the church and city government at Mühlhausen to fund an expensive renovation of the organ at St. Blasius's. Bach, in turn, wrote an elaborate, festive cantata—Gott ist mein König, BWV 71—for the inauguration of the new council in 1708. The council paid handsomely for its publication, and it was a major success.[17]Return to Weimar (1708–17)In 1708, Bach left Mühlhausen, returning to Weimar this time as organist and concertmaster at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.[17] Bach moved with his family into an apartment very close to the ducal palace. In the following year, their first child was born and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729.Bach's time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and to include influences from abroad. He learned to write dramatic openings and employ the dynamic motor-rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still played in concert often. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.[24]In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke's ensemble.[17] He also began to write the preludes and fugues which were later assembled into his monumental work Das Wohltemperierte Clavier ("The Well-Tempered Clavier"—Clavier meaning clavichord or harpsichord),[25] consisting of two books, compiled in 1722 and 1744,[26] each containing a prelude and fugue in every major and minor key.Also in Weimar Bach started work on the Little Organ Book for his eldest son, Wilhelm Friedemann, containing traditional Lutheran chorales (hymn tunes) set in complex textures to train organists. In 1713 Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Marktkirche Unser Lieben Frauen. Johann Kuhnau and Bach played again when it was inaugurated in 1716.[27][28] Musicologists debate whether his first Christmas cantata Christen, ätzet diesen Tag, BWV 63, was premiered here in 1713[29], or if it was performed for the bicentennial of the Reformation in 1717.[30] Bach eventually fell out of favour in Weimar and was, according to a translation of the court secretary's report, jailed for almost a month before being unfavourably dismissed:“On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.[31]”Köthen (1717–23)Leopold, Prince of Anhalt-Köthen hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular,[32] including the Orchestral Suites, the Six Suites for Unaccompanied Cello, the Sonatas and Partitas for Solo Violin, and the Brandenburg Concertos.[33] Bach also composed secular cantatas for the court such as the Die Zeit, die Tag und Jahre macht, BWV 134a.Despite being born in the same year and only about 80 miles apart, Bach and Handel never met. In 1719 Bach made the 20 mile journey from Köthen to Halle with the intention of meeting Handel, however Handel had recently departed the city.[34] In 1730, Bach's son Friedmann travelled to Halle to invite Handel to visit the Bach family in Leipzig, however the visit did not eventuate.[35]On 7 July 1720, while Bach was abroad with Prince Leopold, Bach's first wife suddenly died. The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano 17 years younger than he was who performed at the court in Köthen; they married on 3 December 1721.[36] Together they had 13 more children, six of whom survived into adulthood: Gottfried Heinrich, Johann Christoph Friedrich, and Johann Christian, all of whom became significant musicians; Elisabeth Juliane Friederica (1726–81), who married Bach's pupil Johann Christoph Altnikol; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).[37]Leipzig (1723–50)In 1723, Bach was appointed Cantor of the Thomasschule at Thomaskirche in Leipzig, and Director of Music in the principal churches in the town, namely the Nikolaikirche and the Paulinerkirche, the church of the University of Leipzig.[38] This was a prestigious post in the mercantile city in the Electorate of Saxony, which he held for 27 years until his death. It brought him into contact with the political machinations of his employer, Leipzig's city council.Bach was required to instruct the students of the Thomasschule in singing and to provide church music for the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ a deputy to do this instead. A cantata was required for the church service on Sundays and additional church holidays during the liturgical year. He usually performed his own cantatas, most of which were composed during his first three years in Leipzig. The first of these was Die Elenden sollen essen, BWV 75, first performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant.[39] Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724, and composed only Chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 61, and Wie schön leuchtet der Morgenstern, BWV 1.Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets, at least five of which are for double choir.[40] As part of his regular church work, he performed other composers' motets, which served as formal models for his own.[17]Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by the composer Georg Philipp Telemann. This was one of the dozens of private societies in the major German-speaking cities that was established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions".[41] Year round, the Leipzig's Collegium Musicum performed regularly in venues such as the Zimmermannsches Caffeehaus, a Coffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin and harpsichord concertos.[17]In 1733, Bach composed the Kyrie and Gloria of the Mass in B minor. He presented the manuscript to the King of Poland, Grand Duke of Lithuania and Elector of Saxony, August III in an eventually successful bid to persuade the monarch to appoint him as Royal Court Composer.[4] He later extended this work into a full Mass, by adding a Credo, Sanctus and Agnus Dei, the music for which was almost wholly taken from his own cantatas. Bach's appointment as court composer was part of his long-term struggle to achieve greater bargaining power with the Leipzig Council. Although the complete mass was probably never performed during the composer's lifetime,[42] it is considered to be among the greatest choral works of all time. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach took over the directorship of the Collegium Musicum.In 1747, Bach visited the court of the King of Prussia in Potsdam. There the king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on Frederick's pianoforte, then a novelty, and later presented the king with a Musical Offering which consists of fugues, canons and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration. Bach wrote another fugue, The Art of Fugue, shortly before his death, but never completed the final fugue. It consists of 18 complex fugues and canons based on a simple theme.[43] It was only published posthumously in 1751.[44]The final work Bach completed was a chorale prelude for organ, entitled Vor deinen Thron tret ich hiermit (Before thy throne I now appear, BWV 668a) which he dictated to his son-in-law, Johann Altnikol, from his deathbed. When the notes on the three staves of the final cadence are counted and mapped onto the Roman alphabet, the initials "JSB" are found.[45]Death (1750)Bach's health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Gottlob Harrer, fill the Thomascantor and Director musices posts "upon the eventual ... decease of Mr. Bach."[29] Bach became increasingly blind, so the British eye surgeon John Taylor operated on Bach while visiting Leipzig in March or April of 1750.[46]On 28 July 1750 Bach died at the age of 65. A contemporary newspaper reported "the unhappy consequences of the very unsuccessful eye operation" as the cause of death.[47] Modern historians speculate that the cause of death was a stroke complicated by pneumonia.[6][7][8] His son Emanuel and his pupil Johann Friedrich Agricola wrote an obituary of Bach.[48]Bach's estate included five Clavecins, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, and 52 "sacred books", including books by Martin Luther and Josephus.[49] He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years. In 1894 his coffin was finally found and moved to a vault in St. John's Church. This building was destroyed by Allied bombing during World War II, so in 1950 Bach's remains were taken to their present grave at Leipzig's Church of St. Thomas.[17]LegacyA detailed obituary of Bach was published (without attribution) four years later in 1754 by Lorenz Christoph Mizler (a former student) in Musikalische Bibliothek, a music periodical. The obituary remains probably "the richest and most trustworthy"[50] early source document about Bach. After his death, Bach's reputation as a composer at first declined; his work was regarded as old-fashioned compared to the emerging classical style.[51] Initially he was remembered more as a player and teacher.During the late eighteenth and early nineteenth century, Bach was widely recognised for his keyboard work. Mozart, Beethoven, Chopin, Robert Schumann, and Felix Mendelssohn were among his most prominent admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.[52] Beethoven described him as the "Urvater der Harmonie", "original father of harmony".[53]Bach's reputation among the wider public was enhanced in part by Johann Nikolaus Forkel's 1802 biography of Bach.[54] Felix Mendelssohn significantly contributed to the revival of Bach's reputation with his 1829 Berlin performance of the St Matthew Passion.[55] In 1850, the Bach Gesellschaft (Bach Society) was founded to promote the works; in 1899 the Society published a comprehensive edition of the composer's works with little editorial intervention.During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, perhaps most notably in the promotion of the Cello Suites by Pablo Casals, the first major performer to record these suites.[56] Another development has been the growth of the "authentic" or "period performance" movement, which attempts to present music as the composer intended it. Examples include the playing of keyboard works on harpsichord rather than modern grand piano and the use of small choirs or single voices instead of the larger forces favoured by 19th- and early 20th-century performers.[57]Bach's music is frequently bracketed with the literature of William Shakespeare and the teachings of Isaac Newton.[58] In Germany, during the twentieth century, many streets were named and statues were erected in honour of Bach. His music features three times - more than any other composer - on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[59]WorksIn 1950, a thematic catalogue called Bach Werke Verzeichnis (Bach Works Catalogue) was compiled by Wolfgang Schmieder.[60] Schmieder largely followed the Bach Gesellschaft Ausgabe, a comprehensive edition of the composer's works that was produced between 1850 and 1905: BWV 1–224 are cantatas; BWV 225–249, large-scale choral works including his Passions; BWV 250–524, chorales and sacred songs; BWV 525–748, organ works; BWV 772–994, other keyboard works; BWV 995–1000, lute music; BWV 1001–40, chamber music; BWV 1041–71, orchestral music; and BWV 1072–1126, canons and fugues.[61]Organ worksBach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres—such as preludes, fantasias, and toccatas—and stricter forms, such as chorale preludes and fugues.[17] At a young age, he established a reputation for his great creativity and ability to integrate foreign styles into his organ works. A decidedly North German influence was exerted by Georg Böhm, with whom Bach came into contact in Lüneburg, and Dieterich Buxtehude, whom the young organist visited in Lübeck in 1704 on an extended leave of absence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italian composers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldi and others for organ and harpsichord. During his most productive period (1708–14) he composed several pairs of preludes and fugues and toccatas and fugues, and the Orgelbüchlein ("Little organ book"), an unfinished collection of 46 short chorale preludes that demonstrates compositional techniques in the setting of chorale tunes. After leaving Weimar, Bach wrote less for organ, although his best-known works (the six trio sonatas, the "German Organ Mass" in Clavier-Übung III from 1739, and the "Great Eighteen" chorales, revised late in his life) were all composed after his leaving Weimar. Bach was extensively engaged later in his life in consulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.[62][63]Other keyboard worksBach wrote many works for harpsichord, some of which may have been played on the clavichord. Many of his keyboard works are anthologies that encompass whole theoretical systems in an encyclopaedic fashion. • The Well-Tempered Clavier, Books 1 and 2 (BWV 846–893). Each book consists of a prelude and fugue in each of the 24 major and minor keys in chromatic order from C major to B minor (thus, the whole collection is often referred to as 'the 48'). "Well-tempered" in the title refers to the temperament (system of tuning); many temperaments before Bach's time were not flexible enough to allow compositions to utilise more than just a few keys.[64] • The 15 Inventions and 15 Sinfonias (BWV 772–801). These short two- and three-part contrapuntal works are arranged in the same chromatic order as the Well-Tempered Clavier, omitting some of the rarer keys. These pieces were intended by Bach for instructional purposes.[65] • Three collections of dance suites: the English Suites (BWV 806–811), the French Suites (BWV 812–817), and the Partitas for keyboard (BWV 825–830). Each collection contains six suites built on the standard model (Allemande–Courante–Sarabande–(optional movement)–Gigue). The English Suites closely follow the traditional model, adding a prelude before the allemande and including a single movement between the sarabande and the gigue.[66] The French Suites omit preludes, but have multiple movements between the sarabande and the gigue.[67] The partitas expand the model further with elaborate introductory movements and miscellaneous movements between the basic elements of the model.[68] • The Goldberg Variations (BWV 988), an aria with thirty variations. The collection has a complex and unconventional structure: the variations build on the bass line of the aria, rather than its melody, and musical canons are interpolated according to a grand plan. There are nine canons within the 30 variations, one every three variations between variations 3 and 27.[69] These variations move in order from canon at the unison to canon at the ninth. The first eight are in pairs (unison and octave, second and seventh, third and sixth, fourth and fifth). The ninth canon stands on its own due to compositional dissimilarities. • Miscellaneous pieces such as the Overture in the French Style (French Overture, BWV 831), Chromatic Fantasia and Fugue (BWV 903), and the Italian Concerto (BWV 971).Among Bach's lesser known keyboard works are seven toccatas (BWV 910–916), four duets (BWV 802–805), sonatas for keyboard (BWV 963–967), the Six Little Preludes (BWV 933–938), and the Aria variata alla maniera italiana (BWV 989).Orchestral and chamber musicBach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six sonatas and partitas for violin (BWV 1001–1006), six cello suites (BWV 1007–1012) and Partita for solo flute (BWV 1013), are among the most profound works in the repertoire.[70] Bach composed a suite and several other works for solo lute. He wrote trio sonatas; solo sonatas (accompanied by continuo) for the flute and for the viola da gamba; and a large number of canons and ricercare, mostly with unspecified instrumentation. The most significant examples of the latter are contained in The Art of Fugue and The Musical Offering.Bach's best-known orchestral works are the Brandenburg Concertos, so named because he submitted them in the hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; his application was unsuccessful.[17] These works are examples of the concerto grosso genre. Other surviving works in the concerto form include two violin concertos (BWV 1041 and BWV 1042); a Concerto for Two Violins in D Minor (BWV 1043), often referred to as Bach's "double" concerto; and concertos for one to four harpsichords. It is widely accepted that many of the harpsichord concertos were not original works, but arrangements of his concertos for other instruments now lost.[71] A number of violin, oboe and flute concertos have been reconstructed from these. In addition to concertos, Bach wrote four orchestral suites, and a series of stylised dances for orchestra, each preceded by a French overture.[72]Vocal and choral worksCantatasAs the Thomaskantor, beginning mid of 1723, Bach performed a cantata each Sunday and feast day that corresponded to the lectionary readings of the week.[17] Although Bach performed cantatas by other composers, he composed at least three entire annual cycles of cantatas at Leipzig, in addition to those composed at Mühlhausen and Weimar.[17] In total he wrote more than 300 sacred cantatas, of which approximately 200 survive.[73]His cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses, small instrumental groups, or grand orchestras. Many consist of a large opening chorus followed by one or more recitative-aria pairs for soloists (or duets) and a concluding chorale. The recitative is part of the corresponding Bible reading for the week and the aria is a contemporary reflection on it. The melody of the concluding chorale often appears as a cantus firmus in the opening movement. Among his best known cantatas are: • Christ lag in Todes Banden, BWV 4 • Ich hatte viel Bekümmernis, BWV 21 • Ein feste Burg ist unser Gott, BWV 80 • Gottes Zeit ist die allerbeste Zeit, BWV 106 (Actus Tragicus) • Wachet auf, ruft uns die Stimme, BWV 140 • Herz und Mund und Tat und Leben, BWV 147In addition, Bach wrote a number of secular cantatas, usually for civic events such as council inaugurations. These include wedding cantatas, the Wedding Quodlibet, the Peasant Cantata and the Coffee Cantata.[74]PassionsBach's large choral-orchestral works include the grand scale St Matthew Passion and St John Passion, both written for Good Friday vespers services at the Thomaskirche and the Nikolaikirche in alternate years, and the Christmas Oratorio (a set of six cantatas for use in the Liturgical season of Christmas).[75][76][77] The two versions of the Magnificat (one in E-flat major, with four interpolated Christmas-related movements, and the later and better-known version in D major), the Easter Oratorio, and the Ascension Oratorio are smaller and simpler than the Passions and the Christmas Oratorio.Mass in B minorMain article: Mass in B minorBach assembled his other large work, the Mass in B minor, near the end of his life, mostly from pieces composed earlier (such as the cantatas Gloria in excelsis Deo, BWV 191 and Weinen, Klagen, Sorgen, Zagen, BWV 12). The mass was never performed in full during Bach's lifetime.[78] All of these movements, unlike the six motets (Singet dem Herrn ein neues Lied; Der Geist hilft unser Schwachheit auf; Jesu, meine Freude; Fürchte dich nicht; Komm, Jesu, komm!; and Lobet den Herrn alle Heiden), have substantial solo parts as well as choruses.Musical styleBach's musical style arose from his skill in contrapuntal invention and motivic control, his flair for improvisation, his exposure to North and South German, Italian and French music, and his devotion to the Lutheran liturgy. His access to musicians, scores and instruments as a child and a young man and his emerging talent for writing tightly woven music of powerful sonority, allowed him to develop an eclectic, energetic musical style in which foreign influences were combined with an intensified version of the pre-existing German musical language. From the Period 1713-14 onward he learned much from the style of the Italians.[79]During the Baroque Period, many composers only wrote the framework, and performers embellished this framework with ornaments and other elaboration.[80] This practice varied considerably between the schools of European music; Bach notated most or all of the details of his melodic lines, leaving little for performers to interpolate. This accounted for his control over the dense contrapuntal textures that he favoured, and decreased leeway for spontaneous variation of musical lines. At the same time, Bach left the instrumentation of major works including The Art of Fugue open.[81]Bach's devout relationship with the Christian God in the Lutheran tradition[82] and the high demand for religious music of his times placed sacred music at the centre of his repertory. He taught Luther's Small Catechism as the Thomascantor in Leipzig,[83] and some of his pieces represent it;[84] the Lutheran chorale hymn tune was the basis of much of his work. He wrote more cogent, tightly integrated chorale preludes than most. The large-scale structure of some of Bach's sacred works is evidence of subtle, elaborate planning. For example, the St Matthew Passion illustrates the Passion with Bible text reflected in recitatives, arias, choruses, and chorales.[85] The structure of the Easter Oratorio, BWV 249, resembles The Crucifixion.[86]Bach's drive to display musical achievements was evident in his composition. He wrote much for the keyboard and led its elevation from continuo to solo instrument with harpsichord concertos and keyboard obbligato.[87] Virtuosity is a key element in other pieces, such as the Prelude and Fugue in E minor, BWV 548 for organ in which virtuosic passages are mapped onto alternating flute and reed solos within the fugal development.[88]Bach produced collections of movements that explored the range of artistic and technical possibilities inherent in various genres. The most famous example is the Well Tempered Clavier, in which each book presents a prelude and fugue in every major and minor key. Each fugue displays a variety of contrapuntal and fugal techniques.[89]PerformancesPresent-day Bach performers usually pursue one of two traditions: so-called "authentic performance practice", utilising historical techniques; or the use of modern instruments and playing techniques, often with larger ensembles. In Bach's time orchestras and choirs were usually smaller than those of later composers, and even Bach's most ambitious choral works, such as his Mass in B minor and Passions, were composed for relatively modest forces. Some of Bach's important chamber music does not indicate instrumentation, allows a greater variety of ensemble.Easy listening realisations of Bach's music and their use in advertising contributed greatly to Bach's popularisation in the second half of the twentieth century. Among these were the Swingle Singers' versions of Bach pieces that are now well-known (for instance, the Air on the G string, or the Wachet Auf chorale prelude) and Wendy Carlos's 1968 Switched-On Bach, which used the Moog electronic synthesiser. Jazz musicians have adopted Bach's music, with Jacques Loussier, Ian Anderson, Uri Caine and the Modern Jazz Quartet among those creating jazz versions of Bach works.[90]See also • List of fugal works by Johann Sebastian Bach • List of transcriptions of compositions by Johann Sebastian Bach • List of students of Johann Sebastian BachReferences 1. German pronunciation: [joˈhan] or [ˈjoːhan zeˈbastjan ˈbax] 1. ^ a b Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W.W. Norton and Company, Inc., 2000), 19. 2. ^ a b Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 46. ISBN 0-393-04825-X. 3. ^ a b "BACH Mass in B Minor BWV 232" 
. www.baroquemusic.org. Retrieved 21 February 2012. 4. ^ a b Russell H. Miles, Johann Sebastian Bach: An Introduction to His Life and Works (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1962), 86–87. 5. ^ a b Breitenfeld, Tomislav; Solter, Vesna Vargek; Breitenfeld, Darko; Zavoreo, Iris; Demarin, Vida (3 Jan. 2006). "Johann Sebastian Bach's Strokes" 
(PDF). Acta Clinica Croatica (Sisters of Charity Hospital) 45 (1). Retrieved 20 May 2008. 6. ^ a b Baer, Ka. (1956). "Johann Sebastian Bach (1685–1750) in medical history". Bulletin of the Medical Library Association (Medical Library Association) 39 (206). 7. ^ a b Breitenfeld, D.; Thaller V, Breitenfeld T, Golik-Gruber V, Pogorevc T, Zoričić Z, Grubišić F (2000). "The pathography of Bach's family". Alcoholism 36: 161–64. 8. Blanning, T. C. W.The triumph of music: the rise of composers, musicians and their art 
, 272: "And of course the greatest master of harmony and counterpoint of all time was Johann Sebastian Bach, 'the Homer of music' 9. Jones, Richard (2007). The Creative Development of Johann Sebastian Bach. Oxford University Press. p. 3. ISBN 0-19-816440-8. 1. "Lesson Plans" 
. Bach to School. The Bach Choir of Bethlehem. Retrieved 8 March 2012. 1. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 6 2. Printed in translation in The Bach Reader (ISBN 0-393-00259-4) 3. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 7–8. 4. Mendel et al (1998), 299 5. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 45. ISBN 0-393-04825-X. 1. ^ a b c d e f g h i j k l m "Johann Sebastian Bach: a detailed informative biography" 
. baroquemusic.org. Retrieved 19 February 2012. 1. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company

Thomas Gainsborough had a deep love of music and many of his portraits include musical themes. He was himself a keen amateur player of the gamba and he had many musicians as friends, and feautured them as subjects for his portraits. Catherine Bott meets art historian and author of several books on the artist, Michael Rosenthal of Warwick University, for an exploration of what the Gainsborough portraits tell us about the role of music in the late 18th Century. The programme includes comment about Gainsborough's portraits of Karl Friedrich Abel; Johann Christian Bach; and the Linley family, as well as paintings of some notable amateurs from the English gentry such as William Wollaston and the redoubtable Anne Ford.

Can you guess this piece? Here's a hint: A much older brother of P.D.Q.

Can you guess this piece? Here’s a hint: A much older brother of P.D.Q.

Donald Macleod introduces music and stories from the life of Johann Christian Bach, these days best known as the younget son of JS Bach, but in his day, the most famous Bach of all. Following JC Bach as he veers away from a typically Bach career as a provincial organist, and heads instead to Italy, and opera. Covering his move to London, his friendships with Carl Abel, Thomas Gainsborough and the eight-year-old Wolfgang Amadeus Mozart, and his decline.

Andante, by Johann Christian Bach, played by Marina Peterson, student of Cynthia Marie VanLandingham at TallyPiano & Keyboard Studios in Tallahassee, Florida (www.tallypiano.com)