Wilhelm Friedema

问题二、巴哈是那个年代的人

巴赫，约翰塞巴斯蒂安(1685.3.21，图林根，艾泽纳赫，萨克森~ 1750.7.28，莱比锡)也翻译过巴赫。巴洛克时期的作曲家。虽然巴赫在他的同时代人中被高度赞扬为杰出的大键琴演奏家、管风琴演奏家和制作专家，但他已被公认为历史上最伟大的作曲家。他以作品《布兰登堡协奏曲》(勃兰登堡协奏曲)、《平均律钢琴曲集》(好脾气的克拉维尔)、《B小调弥撒曲》(B小调弥撒曲)等众多教会音乐和器乐的代表作而闻名于世。巴赫生于音乐史上的一个有利时机，能够全面总结前人发展的一些主要风格、形式和民族传统，并通过综合使之更加丰富多彩。约翰塞巴斯蒂安巴赫(John Sebastian Bach)是一个著名的音乐家家庭的成员，他为自己的家庭成就感到自豪。大约在1735年，他画了一个家谱《巴哈音乐家庭起源》 (Urs

prung der musicalisch-Bachischen Familie)，寻根溯源至太曾祖法伊特．巴哈(Veit Bach)；法伊特是一位信奉路德教的面包师(或磨坊主)，16世纪末因受宗教迫害被从匈牙利驱逐到位于德国历史名区图林根(Thuringia)的韦希玛(Wechmar)，1619年去世。在那以前，这一地区已住有姓巴哈的人；因此，法伊特之迁居韦希玛，很可能是回归故土。他去磨坊时常随身携带西特琴，一边磨粉，一边拨弄乐器。约翰．塞巴斯蒂安说过:“这两者结合，声音想必妙不可言！不管怎么说，他学会了打拍子，这显然是我们家族出现音乐之始。”在约翰．塞巴斯蒂安出生以前，他那一支系是这个家族中最不突出的，其家族成员中有过一些称职而有实际经验的乐师，但不是作曲家，例如约翰．克里斯托夫(Johann Christoph)和约翰．路德维希(Johann Ludwig)。在他之后，家族中最重要的音乐家是约翰．塞巴斯蒂安的儿子威廉．弗里德曼(Wilhelm Friedemann)、卡尔．菲利普．埃马努埃尔(Carl Philipp Emannel)和约翰．克里斯蒂安(Johann Christian，人称“英国巴哈”)。

相关问题三、巴赫的妻子是不是玛利亚芭芭拉？

巴赫（Johann Sebastian Bach，1685-1750）于1685年3月21日生于德国的埃森纳赫（Eisenach），1750年7月28日逝世于莱比锡（Leipzig）。他出生的同年也诞生了两个伟大的音乐家韩德尔（G. F. Handel, 1685-1759）及史卡拉第（D. Scarlatti,1685-1757）。巴赫生于一个音乐世家，他的家族曾诞生了数十位音乐家。大约在十岁，巴赫双亲过世，由长兄抚养成人。他曾拜师帕克贝尔（Pachelbel），于1707年与堂姊马利亚．巴巴拉．巴赫（Maria Barbara Bach）结婚，生下七个孩子，其中维廉．弗里德曼（Wilhelm Friedemann）和卡尔．菲利普．以马内利（Karl Philip Emanuel）是音乐家。巴赫的妻子马利亚．巴巴拉于1720年去世，隔年他娶了二十一岁的安娜．马德莲娜．巴赫（Anna Magdalena Wuken）为继室。安娜．马德莲娜为巴赫生下十三个孩子，其中约翰．克里斯多夫．腓特烈曼（Johann Christopher Friedemann号称为布克堡巴赫）和约翰．克里斯钦（Johann Christian号称米兰巴赫或伦敦巴赫）都是音乐家。巴赫很爱他的这两位妻子，无论是玛利亚·芭芭拉还是安娜·玛德莲娜，他都为她们创作了大量的作品。有一首巴赫写给妻子的诗，字里行间渗透着巴赫对妻子的爱：我是你的奴仆，呵！可爱的新娘呀，愿这一个早晨，快乐和你同在！戴上花冠，穿上婚礼的衣裳，只要看到你的丽姿不管心肠有多硬，也会充满了快乐。真是多么美妙啊，只要看看你，我温暖的心胸、与充满爱的双唇，就自然地哼出歌颂你的歌曲。巴赫至死不渝地爱着他的妻子，他曾请一位著名的画家为妻子画了一幅肖像。传记作家舒毕达曾经写道: “从他们的生活程度来看，在当时要请画师画肖像画，实在是件不容易办到的事情。但此画，可能是由于巴赫的热爱，请画家画成的。总之，这就是这一对艺术家形成婚姻生活基础的深刻爱情以及崇高精神的证据。” 这两位妻子都是幸福的。巴赫对玛利亚·芭芭拉和安娜·玛德莲娜充满着感激之情，玛利亚·芭芭拉的逝去对巴赫来说是很大的一个打击，安娜·玛德莲娜填补了他这时候的虚空！她为他带来了音乐创想的延续。同样美妙的两位妻子，让他同样的纪念。为玛利亚芭芭拉写过我最爱的《玛利亚芭芭拉》,也就是《空气》曲目还有：Disc 1 Sonata No. 1, BWV 1001, in G Minor/g-moll/sol mineur g小调第一奏鸣曲，BWV 1001 1 Adagio 柔板 4:42 2 Fugue: Allegro 赋格曲：快板 4:41 3 Siciliano 西西里舞曲 4:05 4 Presto 急板 3:24 Sonata No. 2, BWV 1003, in A Minor/a-moll/la mineur a小调第二奏鸣曲，BWV 1003 5 Grave 壮板 3:37 6 Fugue 赋格曲 5:59 7 Andante 行板 5:38 8 Allegro 快板 5:15 Sonata No. 3, BWV 1005, in C/C-r/ut majeur C大调第三奏鸣曲，BWV 1005 9 Adagio 柔板 3:50 10 Fugue: Alla breve 赋格曲：每小节二拍 8:40 11 Largo 广板 2:37 12 Allegro assai 极快板 4:35 Disc2 Partita No. 1, BWV 1002, in B Minor/h-mpll/si mineur b小调第一组曲，BWV 1002 1 Allemande 阿勒曼德舞曲 4:53 2 Double 变奏 2:21 3 Courante 库朗舞曲 2:43 4 Double 变奏 4:00 5 Sarabande 萨拉邦德舞曲 2:44 6 Double 变奏 1:45 7 Bourrée 柏雷舞曲 2:52 8 Double 变奏 2:53 Partita No.2, BWV 1004, in D Minor/d-moll/ré mineur d小调第二组曲，BWV 1004 9 Allemande 阿勒曼德舞曲 3:11 10 Courante 库朗舞曲 2:42 11 Sarabande 萨拉邦德舞曲 3:05 12 Gigue 吉格舞曲 3:47 13 Chaconne 夏康舞曲 12:53 Partita No. 3, BWV 1006, in E/E-r/mi Majeur E大调第三组曲，BWV 1006 14 Preludio 前奏曲 3:12 15 Loure 罗瑞舞曲 4:10 16 Gavotte en Rondeau 嘉禾舞曲 2:41 17 MenuetⅠ 小步舞曲Ⅰ 1:28 18 MenuetⅡ 小步舞曲Ⅱ 2:07 19 Bourrée 柏雷舞曲 1:25 20 Gigue 吉格舞曲 1:48

你可能关注的问题四、巴赫的妻子是不是玛利亚芭芭拉？

巴赫（Johann Sebastian Bach，1685-1750）于1685年3月21日生于德国的埃森纳赫（Eisenach），1750年7月28日逝世于莱比锡（Leipzig）。他出生的同年也诞生了两个伟大的音乐家韩德尔（G. F. Handel, 1685-1759）及史卡拉第（D. Scarlatti,1685-1757）。巴赫生于一个音乐世家，他的家族曾诞生了数十位音乐家。大约在十岁，巴赫双亲过世，由长兄抚养成人。他曾拜师帕克贝尔（Pachelbel），于1707年与堂姊马利亚．巴巴拉．巴赫（Maria Barbara Bach）结婚，生下七个孩子，其中维廉．弗里德曼（Wilhelm Friedemann）和卡尔．菲利普．以马内利（Karl Philip Emanuel）是音乐家。巴赫的妻子马利亚．巴巴拉于1720年去世，隔年他娶了二十一岁的安娜．马德莲娜．巴赫（Anna Magdalena Wuken）为继室。安娜．马德莲娜为巴赫生下十三个孩子，其中约翰．克里斯多夫．腓特烈曼（Johann Christopher Friedemann号称为布克堡巴赫）和约翰．克里斯钦（Johann Christian号称米兰巴赫或伦敦巴赫）都是音乐家。巴赫很爱他的这两位妻子，无论是玛利亚·芭芭拉还是安娜·玛德莲娜，他都为她们创作了大量的作品。有一首巴赫写给妻子的诗，字里行间渗透着巴赫对妻子的爱：我是你的奴仆，呵！可爱的新娘呀，愿这一个早晨，快乐和你同在！戴上花冠，穿上婚礼的衣裳，只要看到你的丽姿不管心肠有多硬，也会充满了快乐。真是多么美妙啊，只要看看你，我温暖的心胸、与充满爱的双唇，就自然地哼出歌颂你的歌曲。巴赫至死不渝地爱着他的妻子，他曾请一位著名的画家为妻子画了一幅肖像。传记作家舒毕达曾经写道: “从他们的生活程度来看，在当时要请画师画肖像画，实在是件不容易办到的事情。但此画，可能是由于巴赫的热爱，请画家画成的。总之，这就是这一对艺术家形成婚姻生活基础的深刻爱情以及崇高精神的证据。” 这两位妻子都是幸福的。巴赫对玛利亚·芭芭拉和安娜·玛德莲娜充满着感激之情，玛利亚·芭芭拉的逝去对巴赫来说是很大的一个打击，安娜·玛德莲娜填补了他这时候的虚空！她为他带来了音乐创想的延续。同样美妙的两位妻子，让他同样的纪念。为玛利亚芭芭拉写过我最爱的《玛利亚芭芭拉》,也就是《空气》曲目还有：Disc 1 Sonata No. 1, BWV 1001, in G Minor/g-moll/sol mineur g小调第一奏鸣曲，BWV 1001 1 Adagio 柔板 4:42 2 Fugue: Allegro 赋格曲：快板 4:41 3 Siciliano 西西里舞曲 4:05 4 Presto 急板 3:24 Sonata No. 2, BWV 1003, in A Minor/a-moll/la mineur a小调第二奏鸣曲，BWV 1003 5 Grave 壮板 3:37 6 Fugue 赋格曲 5:59 7 Andante 行板 5:38 8 Allegro 快板 5:15 Sonata No. 3, BWV 1005, in C/C-r/ut majeur C大调第三奏鸣曲，BWV 1005 9 Adagio 柔板 3:50 10 Fugue: Alla breve 赋格曲：每小节二拍 8:40 11 Largo 广板 2:37 12 Allegro assai 极快板 4:35 Disc2 Partita No. 1, BWV 1002, in B Minor/h-mpll/si mineur b小调第一组曲，BWV 1002 1 Allemande 阿勒曼德舞曲 4:53 2 Double 变奏 2:21 3 Courante 库朗舞曲 2:43 4 Double 变奏 4:00 5 Sarabande 萨拉邦德舞曲 2:44 6 Double 变奏 1:45 7 Bourrée 柏雷舞曲 2:52 8 Double 变奏 2:53 Partita No.2, BWV 1004, in D Minor/d-moll/ré mineur d小调第二组曲，BWV 1004 9 Allemande 阿勒曼德舞曲 3:11 10 Courante 库朗舞曲 2:42 11 Sarabande 萨拉邦德舞曲 3:05 12 Gigue 吉格舞曲 3:47 13 Chaconne 夏康舞曲 12:53 Partita No. 3, BWV 1006, in E/E-r/mi Majeur E大调第三组曲，BWV 1006 14 Preludio 前奏曲 3:12 15 Loure 罗瑞舞曲 4:10 16 Gavotte en Rondeau 嘉禾舞曲 2:41 17 MenuetⅠ 小步舞曲Ⅰ 1:28 18 MenuetⅡ 小步舞曲Ⅱ 2:07 19 Bourrée 柏雷舞曲 1:25 20 Gigue 吉格舞曲 1:48

推荐问题五、请给一些Johann Sebastian Bach的英文资料

Johann Sebastian Bach (born Eisenach, 21 March 1685; died Leipzig, 28 July 1750) He was the youngest son of Johann Ambrosius Bach, a town musician, from whom he probably learnt the violin and the rudiments of musical theory. When he was ten he was orphaned and went to live with his elder brother Johann Christoph, organist at St. Michael”s Church, Ohrdruf, who gave him lessons in keyboard playing. From 1700 to 1702 he attended St. Michael”s School in Lüneburg, where he sang in the church choir and probably came into contact with the organist and composer Georg Böhm. He also visited Hamburg to hear J.A. Reincken at the organ of St. Catherine”s Church. After competing unsuccessfully for an organist”s post in Sangerhausen in 1702, Bach spent the spring and summer of 1703 as “lackey” and violinist at the court of Weimar and then took up the post of organist at the Neukirche in Arnstadt. In June 1707 he moved to St. Blasius, Mühlhausen, and four months later married his cousin Maria Barbara Bach in nearby Dornheim. Bach was appointed organist and chamber musician to the Duke of Saxe-Weimar in 1708, and in the next nine years he became known as a leading organist and composed many of his finest works for the instrument. During this time he fathered seven children, including Wilhelm Friedemann and Carl Philipp Emanuel. When, in 1717, Bach was appointed Kapellmeister at Cöthen, he was at first refused permission to leave Weimar and was allowed to do so only after being held prisoner by the ke for almost a month. Bach”s new employer, Prince Leopold, was a talented musician who loved and understood the art. Since the court was Calvinist, Bach had no chapel ties and instead concentrated on instrumental composition. From this period date his violin concertos and the six Brandenburg Concertos, as well as numerous sonalas, suites and keyboard works, including several (e.g. the Inventions and Book I of the “48”) intended for instruction. In 1720 Maria Barbara died while Bach was visiting Karlsbad with the prince; in December of the following year Bach married Anna Magdalena Wilcke, daughter of a court trumpeter at Weissenfels. A week later Prince Leopold also married, and his bride”s lack of interest in the arts led to a decline in the support given to music at the Cöthen court. In 1722 Bach entered his candidature for the prestigious post of Director musices at Leipzig and Kantor of the Thomasschule there. In April 1723, after the preferred candidates, Telemann and Graupner, had withdrawn, he was offered the post and accepted it. Bach remained as Thomaskantor in Leipzig for the rest of his life, often in conflict with the authorities, but a happy family man and a proud and caring parent. His ties centred on the Sunday and feastday services at the city”s two main churches, and ring his early years in Leipzig he composed prodigious quantities of church music, including four or five cantata cycles, the Magnificat and the St. John and St. Matthew Passions. He was by this time renowned as a virtuoso organist and in constant demand as a teacher and an expert in organ construction and design. His fame as a composer graally spread more widely when, from 1726 onwards, he began to bring out published editions of some of his keyboard and organ music. From about 1729 Bach”s interest in composing church music sharply declined, and most of his sacred works after that date, including the b Minor Mass and the Christmas Oratorio, consist mainly of “parodies” or arrangements of earlier music. At the same time he took over the direction of the collegium musicum that Telemann had founded in Leipzig in 1702 – a mainly amateur society which gave regular public concerts. For these Bach arranged harpsichord concertos and composed several large-scale cantatas, or serenatas, to impress the Elector of Saxony, by whom he was granted the courtesy title of Hofcompositeur in 1736. Among the 13 children born to Anna Magdalena at Leipzig was Bach”s youngest son, Johann Christian, in 1735. In 1744 Bach”s second son, Emanuel, was married, and three years later Bach visited the couple and their son (his first grandchild) at Potsdam, where Emanuel was employed as harpsichordist by Frederick the Great. At Potsdam Bach improvised on a theme given to him by the king, and this led to the composition of the Musical Offering, a compendium of fugue, canon, and sonata based on the royal theme. Contrapuntal artifice predominates in the work of Bach”s last decade, ring which his membership (from 1747) of Lorenz Mizler”s learned Society of Musical Sciences profoundly affected his musical thinking. The Canonic Variations for organ was one of the works Bach presented to the society, and the unfinished Art of Fugue may also have been intended for distribution among its members. Bach”s eyesight began to deteriorate ring his last year and in March and April 1750 he was twice operated on by the itinerant English oculist John Taylor. The operations and the treatment that followed them may have hastened Bach”s death. He took final communion on 22 July and died six days later. On 31 July he was buried at St. John”s cemetery. His widow survived him for ten years, dying in poverty in 1760. Bach”s output embraces practically every musical genre of his time except for the dramatic ones of opera and oratorio (his three “oratorios” being oratorios only in a special sense). He opened up new dimensions in virtually every department of creative work to which he turned, in format, musical quality and technical demands. As was normal at the time, his creative proction was mostly bound up with the extemal factors of his places of work and his employers, but the density and complexity of his music are such that analysts and commentators have uncovered in it layers of religious and numerological significance rarely to be found in the music of other composers. Many of his contemporaries, notably the critic J.A. Scheibe, found his music too involved and lacking in immediate melodic appeal, but his chorale harmonizations and fugal works were soon adopted as models for new generations of musicians. The course of Bach”s musical development was undeflected (though not entirely uninfluenced) by the changes in musical style taking place around him. Together with his great contemporary Handel (whom chance prevented his ever meeting), Bach was the last great representative of the Baroque era in an age which was already rejecting the Baroque aesthetic in favour of a new,”enlightened”one.

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