J.S. Bach | Introducing Famous and Representative Works
The songs that are popular today—across not only classical music but also pop and jazz—are deeply influenced by past composers.
Among them, classical music is often called the foundation of music, and it’s no exaggeration to say that Johann Sebastian Bach, known as the “Father of Music,” was one of the figures who laid that very groundwork.
Bach’s music, while carrying a religious hue, is characterized by philosophical depth and intricately refined structure down to the finest details, with melodies of exceptional beauty.
Please take a look into the world of Johann Sebastian Bach, one of the greatest composers in history.
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J.S. Bach | Introducing Famous and Representative Works (21–30)
The Art of FugueJ.S.Bach
The main reason Bach is called the father of music is that, while preserving counterpoint—a traditional method of combining multiple melodies—he skillfully incorporated more human, freer, and harmonically oriented elements that later became the mainstream of classical music.
This is one of Bach’s late works.
The piece was published in an unfinished state.
Pastorale in F major, BWN 590, Movement IIIJ.S.Bach
An organ piece by the Baroque master Johann Sebastian Bach.
From a small four-part suite, this is the third movement, placed as a serene slow movement.
Its long-breathed melody sings gently like an oboe, supported by simple chords that softly accompany it—an inheritance of the Italian pastoral tradition.
A gentle undulation evoking the simple scenes of shepherds and a songful quality reminiscent of a cantata aria weave a meditative world that makes one forget the passage of time.
Composed around 1720 and first published in Leipzig in 1845, this work is a celebrated piece often performed at Christmas and memorial services.
When you wish to quiet the mind and regain deep breathing away from the bustle of daily life, the organ’s sustained resonance wraps you in a gentle embrace.
J.S. Bach | Introducing Famous and Representative Works (31–40)
Cantate BWV191 – Gloria in excelsis DeoJ.S.Bach
Cantata BWV 191, which can be regarded as a kind of digest version of the Mass in B minor, is sung with the Latin text “Gloria in excelsis Deo.” It is performed at the service on Christmas Day.
It is also recommended as an introduction to the Mass.
French Suite No. 4, BWV 815J.S.Bach
Performance by the Russian pianist Tatiana Nikolayeva.
These are works from Bach’s Köthen period, comprising up to No.
6.
No.
4 consists of seven movements: Allemande, Courante, Sarabande, Gavotte, Air, Minuet, and Gigue.
Motet “Jesu, Meine Freude” BWV 227J.S.Bach
A performance conducted by Nikolaus Harnoncourt.
Motets of this period were vocal works used in church, and Bach wrote a total of six.
In this motet, the chorale “Jesu, meine Freude” appears repeatedly in a variation-like form.
The Well-Tempered Clavier, Book I, No. 4, BWV 849J.S.Bach
A performance by the Polish harpsichordist Wanda Landowska.
She was a pioneer who revived the harpsichord—a once-forgotten instrument—in the modern era.
The Well-Tempered Clavier consists of preludes and fugues written in all 24 keys.
Orchestral Suite No. 3, BWV 1068J.S.Bach
A performance by Reinhard Goebel with Musica Antiqua Köln.
It consists of an overture, aria, gavotte, bourrée, and gigue.
The second aria is a widely beloved piece that is often performed on its own under the title “Air on the G String.”