# Johann Sebastian Bach



## Hermanberntzen

What do you think is the most beautifull work by Johann Sebastian Bach? 
Ill have to go for the Prelude in BWV.873 WTC.2 - 



Please add an Youtube link!


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## kv466

I'm not going to say most beautiful or anything like that but certainly a favorite:


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## neoshredder

Air on a G String.


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## Philip




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## Guest

Philip said:


>


+1

KV 466--have you heard Tilman Hoppstock's guitar transcription of BWV 914? I have his recording and score...the last fugue is brutally hard to play!


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## Dodecaplex




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## EarthBoundRules

This piece is the holiest music I've ever listened to. The entire thing is beautiful, but you must at least listen to 12:00-13:10:


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## clavichorder

I really love this excerpt from St. John Passion, those who think Bach can't move, watch out!


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## mmsbls

I'll go with neither vocal nor keyboard - the double Violin Concerto. Here is the wonderfully beautiful second movement -


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## NightHawk

Richter's reflective manner of playing the Prelude BWV 873 is so beautiful - I am glad you posted it - I have the GGould WTC complete and his playing of this prelude is much faster. Richter's is haunted or haunting...though Richter can be taken with speed and that's for sure. I've never heard the last movement of the Beethoven _Appassionata_ F minor Sonata played faster by anyone else.



Hermanberntzen said:


> What do you think is the most beautifull work by Johann Sebastian Bach?
> Ill have to go for the Prelude in BWV.873 WTC.2 -
> 
> 
> 
> Please add an Youtube link!


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## Olias

mmsbls said:


> I'll go with neither vocal nor keyboard - the double Violin Concerto. Here is the wonderfully beautiful second movement -


YEP! SECONDED! This movement was composed as a tribute to his first wife who had died suddenly about the time the concerto was written. The two violin lines intertwine as one voice and represent the love Bach and his wife shared. Beautiful and heartbreaking.


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## StlukesguildOhio

This is surely one of Bach's most "beautiful" moments.






I probably turn to the cantatas more than anywhere else for a wealth of such brilliance that one could literally spend years there alone. Along with the deservedly famous cantatas 140 and 147, my favorites include the magnificent cantatas Bach wrote for alto soloists (BWV 35, 169, & 170):


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## tdc

The final movement of St. Matthew Passion for me.


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## tgtr0660

This:






Followed by this:






Then a little of this:






And all the ones mentioned above and many many many more. I could not stop....


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## science

I'd have to choose Cantata 82 "Ich habe genug."


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## neoshredder

Another beautiful one from Bach. Oboe Concerto in D Minor Second Movement.


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## sah

Playing and listening to these gavottes was an extraordinary experience of Beauty to me:


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## kv466




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## Guest

Another non-organ version!


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## Guest

oops...duplicated!


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## ComposerOfAvantGarde




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## Dimboukas

Well, since you introduced electronic music, I have to post this.

View attachment Wendy Carlos - Switched On Bach - 01 - Track 1.mp3


Bach's Sinfonia to Cantata No. 29 by Wendy Carlos.


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## Stargazer

I was looking at all of the posts here and noticed that there's all of these great pieces posted with very little overlap. That's one thing I love about Bach, he has soo many great pieces that it's hard to limit him to one lol.

I was kind of surprised not to see his Partita #2 on here yet, that's probably my favorite! Here's the chaconne.





I've also been getting really into his cantata BWV 199 recently, here's my favorite section of it:


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## humanbean

The first Aria of BWV 210 (yes, a SECULAR cantata). Skip to 0:54 for the start of the movement:


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## Muddy

Bach rocks, but I suck trying to attach a video.


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## generalisimus

Jesu, Joy of Man's Desiring


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## Pugg

generalisimus said:


> Jesu, Joy of Man's Desiring


Welcome to the forum :tiphat:


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## hpowders




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## ldiat




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## hpowders




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## hpowders




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## hpowders




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## hpowders




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## jdec

hpowders said:


>


Beautiful.

I also like how Gould plays it (at 14:53), even more staccato and with added trills:


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## hammeredklavier

*( March 31, 1685 - July 28, 1750 )*


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## aioriacont

hammeredklavier said:


> *( March 31, 1685 - July 28, 1750 )*


I wish he would live forever.


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## premont

hammeredklavier said:


> *( March 31, 1685 - July 28, 1750 )*


Usually he is reported to have been born *March 21*, 1685.


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## Luchesi

premont said:


> Usually he is reported to have been born *March 21*, 1685.


That was before they realized that a year is only approximately 356.242 days long instead of 365.25 days long. This was being corrected about the time of JsB's death.


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## flamencosketches

Luchesi said:


> That was before they realized that a year is only approximately *356.242* days long instead of 365.25 days long. This was being corrected about the time of JsB's death.


Please tell me you mean 365.242 rather than 356.242, or my head will explode from the realization that all I've ever been taught about astrophysics is wrong


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## starthrower

hammeredklavier said:


> *( March 31, 1685 - July 28, 1750 )*


Is that John Belushi?


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## Dimace

flamencosketches said:


> Please tell me you mean 365.242 rather than 356.242, or my head will explode from the realization that all I've ever been taught about astrophysics is wrong


The Egyptians introduced the 365 days year, but, as far as I know, were some civilizations with 360 days. 356 days, also for me, is an unknown number, despite I see a small cohesion with the number 360... (the 365,24 is correct)-


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## Luchesi

flamencosketches said:


> Please tell me you mean 365.242 rather than 356.242, or my head will explode from the realization that all I've ever been taught about astrophysics is wrong


Sorry. Can I blame my spell checker?


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## Eclectic Al

There's something about BWV682, the longer setting of Vater unser im Himmelreich from Klavierubung III.
Otherwordly.


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## Allegro Con Brio

Eclectic Al said:


> There's something about BWV682, the longer setting of Vater unser im Himmelreich from Klavierubung III.
> Otherwordly.


Isn't it? Along with the B minor fugue from WTC Book I, the "Wedge" E minor fugue, the C minor sarabande from the 5th cello suite, and lots of cantata movements, it would not at all be amiss in 20th century music. The immortal artistic and expressive genius of J.S. Bach knows no boundaries.


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## Luchesi

Allegro Con Brio said:


> Isn't it? Along with the B minor fugue from WTC Book I, the "Wedge" E minor fugue, the C minor sarabande from the 5th cello suite, and lots of cantata movements, it would not at all be amiss in 20th century music. The immortal artistic and expressive genius of J.S. Bach knows no boundaries.


Some composers are just lucky. Look at his lucky, long life. I feel better about myself..


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## Luchesi

Allegro Con Brio said:


> Isn't it? Along with the B minor fugue from WTC Book I, the "Wedge" E minor fugue, the C minor sarabande from the 5th cello suite, and lots of cantata movements, it would not at all be amiss in 20th century music. The immortal artistic and expressive genius of J.S. Bach knows no boundaries.


He seemed to be expressing what reality was in his view, in these otherworldly paroxysms (for their time).


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## Allegro Con Brio

Luchesi said:


> He seemed to be expressing what reality was in his view


It is my opinion that all artists do this.


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## Luchesi

Allegro Con Brio said:


> It is my opinion that all artists do this.


But how do they do it?


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## aioriacont

If I had to listen to only one composer for my whole life, that would be Bach. 
I love a lot of music, but Bach for me transcends everything.


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## Allegro Con Brio

Luchesi said:


> But how do they do it?


A very intriguing question, and one that lies beyond the scope of this thread. Suffice it to say that I believe the work of artists reflects what they believe about the world.


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## UniversalTuringMachine

Allegro Con Brio said:


> A very intriguing question, and one that lies beyond the scope of this thread. Suffice it to say that I believe the work of artists reflects what they believe about the world.


By the speed at which Bach was pumping out works, I would say many of his compositions did not directly express his beliefs about this world, but rather a musical world (the crab canon does not express crab, for example ).


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## hammeredklavier

I love the trumpet part in this, it brings smile to my face every time. (something Charles Hazlewood would have called "toy trumpet moments") A prime example of Bach being completely "carefree" in praising God. It's somewhat like his Christmas oratorio in character, albeit with more gaiety:





This moves me as strongly as the "Et in terra pax" from the B minor mass. So innocent, yet so profound:


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## consuono

UniversalTuringMachine said:


> By the speed at which Bach was pumping out works, I would say many of his compositions did not directly express his beliefs about this world, but rather a musical world (the crab canon does not express crab, for example ).


I don't think there was any such dichotomy for Bach. Bach, along with most devout Christians of his time, viewed all activity as being worship, ideally. The crab canon doesn't express crab, but the whole work by implication is Bach's "musical offering". Complete misunderstanding of simple orthodox Christianity is probably the biggest barrier to "getting" Bach today.


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## HolstThePhone

This verges on impossible with Bach, but there's a special place in my heart reserved for his Violin Partita no. 2, particularly the allemande


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## consuono

So many candidates. Here's one of my favorites:


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## mikeh375

I'm sure many of you good folk know of this YT channel, but I only found it recently because I'm an idiot and thought I'd just pass it on in case there are a few who've not seen it. Lots of vids and breathtaking performances on original instruments and beautifully shot too....


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## UniversalTuringMachine

mikeh375 said:


> I'm sure many of you good folk know of this YT channel, but I only found it recently because I'm an idiot and thought I'd just pass it on in case there are a few who've not seen it. Lots of vids and breathtaking performances on original instruments and beautifully shot too....


Yes, this channel is amazing.


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## consuono

Here's another:




Also this:


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## consuono

Or this:




...or this.


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## Enthusiast

Allegro Con Brio said:


> A very intriguing question, and one that lies beyond the scope of this thread. Suffice it to say that I believe the work of artists reflects what they believe about the world.


In one sense we all do it. The mental processing we call "perception" creates a reality for us. At the same time, we have beliefs and may even sign up to ideological positions, and these influence how we perceive objects, people and events. Going from all this to creating a work of art is something much more, of course.


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## consuono

Incidentally there are some who are convinced that the following wasn't composed by Bach. What do you think? I can't imagine it being by anyone else.


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## Allegro Con Brio

^Absolutely Bach. I can’t imagine anyone else composing that crazy complex counterpoint! It sounds so epic.


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## consuono

Allegro Con Brio said:


> ^Absolutely Bach. I can't imagine anyone else composing that crazy complex counterpoint! It sounds so epic.


Yeah, I think so too. It certainly isn't Handel or Telemann.


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## hammeredklavier

consuono said:


> Incidentally there are some who are convinced that the following wasn't composed by Bach. What do you think? I can't imagine it being by anyone else.


"The work has fascinated Bach scholars because of questions about its provenance. No autograph sources exist, and the earliest copies extant do not mention Bach's name. In 1982, Scheide argued that the existing version (for double choir) is an arrangement by an unknown hand of a lost original for five voices by J. S. Bach. His argument was based on irregularities in BWV 50's part-writing, which are highly unlike the writing of Bach. In 2000, the American performer and scholar Joshua Rifkin argued that a more plausible solution of this puzzle is that the author of BWV 50 was not Bach at all, but an unknown (but highly gifted) composer of the era. The suggestion is controversial."
https://en.wikipedia.org/wiki/Nun_ist_das_Heil_und_die_Kraft,_BWV_50


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## hammeredklavier

Allegro Con Brio said:


> ^Absolutely Bach. I can't imagine anyone else composing that crazy complex counterpoint! It sounds so epic.


Speaking of crazy complex counterpoint, I find this interesting:


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## consuono

> Joshua Rifkin argued that a more plausible solution of this puzzle is that the author of BWV 50 was not Bach at all, but an unknown (but highly gifted) composer of the era. The suggestion is controversial."


The problem with that being that it doesn't "fit" any other composer of the time that we know of. I'm convinced it's Bach.

Also, it's similar in ways to the opening chorus of BWV 19, which is also one honoring St Michael the Archangel.


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## hammeredklavier




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## PierreN

This (Wiederstehe doch der Sünde) is one of my favourite Bach cantata. I seldom enjoy the use of countertenors in the alto parts of Bach cantatas but in this specific cantata I don't mind at all, for some reason. This may be because I first heard it with a countertenor (Russell Oberlin, and Glenn Gould performing the continuo). In the above rendition, Drew Minter is pretty good. Andeas Scholl, with Herreweghe, and Yoshikazu Mera, with Suzuki, also are excellent.


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## PierreN

By the way, I just finished yesterday my third listening of Suzuki's cycle of Bach's sacred cantatas (55 volumes). While the whole cycle is generally excellent I sometimes feel compelled to reach for alternatives from Gardiner, Koopman, Herreweghe or a few others, especially (but not always) when a countertenor comes along. There is also one soprano who isn't always quite up to par, her voice being a bit thin and sometimes unsteady. The orchestral ensemble is top notch most of the time.


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## Allegro Con Brio

PierreN said:


> By the way, I just finished yesterday my third listening of Suzuki's cycle of Bach's sacred cantatas (55 volumes). While the whole cycle is generally excellent I sometimes feel compelled to reach for alternatives from Gardiner, Koopman, Herreweghe or a few others, especially (but not always) when a countertenor comes along. There is also one soprano who isn't always quite up to par, her voice being a bit thin and sometimes unsteady. The orchestral ensemble is top notch most of the time.


I agree about that one soprano. The cantatas with Carolyn Sampson are absolutely heavenly, however. And I think Suzuki's countertenors blow most of the competition out of the water (there's one on the Koopman set that sounds like nails on a chalkboard to me). I am in the process of listening through the cycle right now and though I will occasionally mix in some Gardiner, Leonhardt, and Koopman I find the interpretations, sound quality, caliber of playing and singing on the Suzuki set unbeatable.

My latest cantata jewel I've discovered (all of them are jewels really) is BWV 61 Nun Komm, der Heiden Heiland. The "knocking" recitative is so charming and the soprano aria, my gosh, it's just - painfully beautiful.


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## consuono

I think this cantata is luminous:




So is BWV 34:









The creativity of the man just boggles my mind. There's *so* much there.


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## Guest

This is INCREDIBLE, sublime and moving music. Musical mysticism.


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## Guest

hammeredklavier said:


>


This is a marvelous computer realization of the inner workings of this cantata and such a great tool for introducing people to the wonder and intricacy of Bach. Just brilliant.


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## Itullian

PierreN said:


> By the way, I just finished yesterday my third listening of Suzuki's cycle of Bach's sacred cantatas (55 volumes). While the whole cycle is generally excellent I sometimes feel compelled to reach for alternatives from Gardiner, Koopman, Herreweghe or a few others, especially (but not always) when a countertenor comes along. There is also one soprano who isn't always quite up to par, her voice being a bit thin and sometimes unsteady. The orchestral ensemble is top notch most of the time.


u started with Suzuki and switched to Koopman, exactly because of the countertenors. Koopman doesn't use them.


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## flamencosketches

Itullian said:


> u started with Suzuki and switched to Koopman, exactly because of the countertenors. Koopman doesn't use them.


Sure he does... Kai Wessel, among others.

Sometimes I feel like I'm the only one who likes countertenors... what gives? Surely I can't be alone, with how prevalent they are on recordings, but I seldom see a nice thing written about one.


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## Allegro Con Brio

One more favorite discovery from my cantata voyage so far...this bluesy aria from BWV 30. It just puts a big, cheesy grin on my face.


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## UniversalTuringMachine

Is it more "historically informed" to use Castrati in Bach's Cantata?


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## Allegro Con Brio

UniversalTuringMachine said:


> Is it more "historically informed" to use Castrati in Bach's Cantata?


Ssshh! Don't give the hardcore HIPsters any ideas! Soon enough HIP conductors will be using all male singers and forcing them to do this, coming soon to your next local St. Matthew Passion performance:


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## UniversalTuringMachine

Allegro Con Brio said:


> Ssshh! Don't give the hardcore HIPsters any ideas! Soon enough HIP conductors will be using all male singers and forcing them to do this, coming soon to your next local St. Matthew Passion performance:


Excellent, now I can impress my friends by singing Ah! Mes Amis using my deep baritone voices.


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## consuono

I think I read somewhere that Bach lobbied the Leipzig council to use female singers...to no avail. Maybe he wasn't a countertenor fan either.


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## Allegro Con Brio

consuono said:


> I think I read somewhere that Bach lobbied the Leipzig council to use female singers...to no avail. Maybe he wasn't a countertenor fan either.


For something like BWV 51 Jauchzet Gott, I can't imagine a boy soprano or castrato handling that. It's virtuoso vocal writing for coloratura soprano.


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## hammeredklavier

consuono said:


> Maybe he wasn't a countertenor fan either.


Who is? This is the modern pop music equivalent of the countertenor:

_"I'm singing with my gay voice, to let you know that I'm sensitive!"_

*[ 1:55 ]*


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## dukeofcurls

Erbarme Dich from the St Matthew Passion


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