Christoph Graupn

问题二、请给一些Johann Sebastian Bach的英文资料

约翰塞巴斯蒂安巴赫（生于艾森纳赫，1685年3月21日；死于莱比锡，1750年七月28日)他是约翰安布罗休斯巴赫最小的儿子，巴赫是一位城市音乐家，他可能从他那里学会了小提琴和音乐理论的基础。十岁时，他成了孤儿，去和他的哥哥约翰克里斯托夫一起生活，他哥哥是奥尔德鲁夫圣迈克尔教堂的管风琴师，他哥哥教他弹键盘。从1700年到1702年，他就读于吕内堡的圣迈克尔学校，在那里他在教堂唱诗班唱歌，并可能接触到了管风琴师和作曲家格奥尔格鲍姆。他还访问了汉堡，在圣凯瑟琳教堂的风琴前聆听赖恩肯的演奏。1702年在桑格豪森竞争一个管风琴师的职位失败后，巴赫在1703年的春天和夏天在魏玛宫廷做了一段时间的仆人和小提琴手，然后在阿恩施塔特的新基尔希担任管风琴师。1707年6月，他搬到了慕尼黑的圣布拉修斯，四个月后在附近的多恩海姆和他的表妹玛丽亚芭芭拉贝芝结婚。1708年，巴赫被任命为萨克斯-魏玛公爵的管风琴师和室内音乐家，在接下来的九年里，他成为了著名的管风琴师，并为这种乐器创作了许多优秀的作品。在此期间，他生了七个孩子，包括威廉弗里德曼和卡尔菲利普伊曼纽尔。1717年，当巴赫被任命为科隆的卡佩尔迈斯特时，他最初被拒绝离开魏玛，直到被德国共产党囚禁了近一个月后才被允许离开。巴赫的新雇主利奥波德王子是一位热爱并理解艺术的天才音乐家。由于宫廷是加尔文教派的，巴赫没有教堂的束缚，而是专注于器乐创作。从这一时期开始，他的小提琴协奏曲和

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 In April 1723, after the preferred candidates, Telemann and Graupner, had withdrawn, he was offered the post and accepted it.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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