Bach, Händel, Mozart, Beethoven, Chopin, Grieg Quelle: ZDF. Die Dokumentationsreihe "Auf den Spuren großer Komponisten" stellt uns eine. Ausgezeichnet mit dem Kritikerpreis für den besten Fernsehfilm Rezension. "Dieser Bach - anrührend, erfassbar, gegenwärtig." --Leipziger Volkszeitung ". Film und Video, Menschen und Emotionen - das ist seit weit über zehn Jahren unsere Leidenschaft. BachFilm ist ein Netzwerk aus Autoren, Regisseuren und.
Johann Sebastian Bach (Film)Ausgezeichnet mit dem Kritikerpreis für den besten Fernsehfilm Rezension. "Dieser Bach - anrührend, erfassbar, gegenwärtig." --Leipziger Volkszeitung ". Bach, Händel, Mozart, Beethoven, Chopin, Grieg Quelle: ZDF. Die Dokumentationsreihe "Auf den Spuren großer Komponisten" stellt uns eine. Bach ein Film von Eric Styles mit Gérard Depardieu, Max von Sydow. Inhaltsangabe: Biopic über den Komponisten Johann Sebastian Bach.
Bach Film Johann Sebastian Bach: A Quick History VideoJohann Sebastian Bach (Eisenach, 1685 -- Lipsia, 1750) _ Cantata BWV 30 _ Aria for Alto (5)
Schlieen Sie alle Browserfenster, aufgrund ihres bisherigen Lebens mit der Situation umzugehen, dennoch verbietet die deutsche Bach Film bereits die Bereitstellung von 720p Stream zu offensichtlich illegalen Inhalten und Angeboten, sucht vergeblich. - Auf den Spuren großer KomponistenFahraufnahme auf die Streicher und Nylon Bilder Dirigenten zu halbtotal O-Ton. Boutique propulsée par PrestaShop. QUI SOMMES-NOUS? Créée par Valérie Bach et Olivier Bach en , Bach Films est une société indépendante spécialisée dans l’édition de films en DVD. The Pianist () is a great movie with a great soundtrack, especially if you’re a piano player. 80% of the movie – at least – is Chopin, but we are treated to other composers, such as Bach. Here’s another piece you’ve surely heard, but maybe didn’t know the name of – Bach’s Cello Suite No. 1 in G Major, specifically the Prelude. Johann Sebastian Bach, Soundtrack: Minority Report. Johann Sebastian Bach was born on March 21, , in Eisenach, Thuringia, Germany, into a large and distinguished family of professional musicians. His father, named Johann Ambrosius Bach, was a violinist and trumpeter, employed by the city of Eisenach. His uncles were church organists, court musicians and composers. His mother and father. The Beach is a adventure drama film directed by Danny Boyle and based on the novel of the same name by Alex Garland, which was adapted for the film by John calacreek.com film stars Leonardo DiCaprio, Tilda Swinton, Virginie Ledoyen, Guillaume Canet, and Robert Carlyle. King Bach full list of movies and tv shows in theaters, in production and upcoming films.
Published by Alfred Music AP. Edited by Georg Von Dadelsen. This edition: urtext edition. With introductory text does not include words to the songs.
Composed Published by Baerenreiter Verlag BA. Job 2 episodes, Hans-Peter Minetti Christian Friedrich Henrici 2 episodes, Martin Hellberg Edit Storyline Sophisticated German miniseries on the life and work of Johann Sebastian Bach , one of the greatest musicians and composers of all time.
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Edit Details Country: East Germany Hungary. Language: German. Color: Color. Edit page. Add episode. Clear your history. Johann Sebastian Bach 4 episodes, Anna Magdalena Wilcke 3 episodes, The truth is discovered, Antonia and Christoph are unable to understand Friedemann, who is frustrated and responds that he no longer wants to be compared with his father Johann Sebastian but wants to be Wilhelm Friedemann Bach.
Embittered, he joins a group of travelling actors who regard him to be as what he is. As Christoph comes after years to see him and tells him that Antonia had been waiting for him in Braunschweig, Friedemann wants to see her again.
Antonia, however, has meanwhile married Count Heinrich von Brühl. When Friedemann's group gives a performance in Dresden, the Count arranges that Friedemann and Antonia meet.
Although she is still willing to help him, Friedemann shows her his full embitterment; at the Count's behest, Friedemann has to leave Saxony.
Also in , the film "Play Bach" about Jacques Loussier is actually not a real Bachfilm in the sense of this page. But whoever wants to expel it?
Not me. So it'll remain there. Stuart Gillard was the director and the work has a length of 53 minutes. This film is still buyable. But like the film before, not from me and not from my wife.
Here is the link to the DVD. In , they produced a portrait about Rilling actually this is no Bach film. For this reason alone this film has earned its presence here.
Director was Malcolm Hossick, the production in English and just 35 minutes short. You can watch it if you buy it first. But this is not from me and not from my wife.
It is a British work, so there is no German version, but you can buy it, the movie. You know it, not from me, not from my wife, but on Amazon.
At the time of the turn of the millennium, namely "sort of exactly" in the year , the team Jens Schere and Robert Gräf produced a German film again.
You can listen to it in German, in English, in Spanish, in French and even in Japanese language. A full 90 minutes of entertainment is offered and you can still buy the movie today.
And indeed, Oh, the title:. In as well the film production with the title "Because he isn't stoppable". It is a journey to Johann Sebastian Bach.
Also in terms of content, it is different, it is about Bach's handwriting. The title "From originals, lovers, and chiffonade". We owe this work to Cornelia Schönberg and Hanne Kaisik.
The fourth film project related to the topic of Bach in the year is the "Pilgrimage to Bach". Elliot Gardiner, the current CEO of the Neue Bach-Gesellschaft New Bach Society , is on a world tour.
Manfred Waffender created this well worth seeing opus. A fifth and final Bach film in the year is the work "Johann Sebastian Bach — Genius for All Times".
The producer is Heidrun Suenderhaut. This film is what you get on Amazon with a click here. The title: "Johann Sebastian Bach - Life and Work".
The first film, published in the third millennium about Johann Sebastian Bach, has the title "Johann Sebastian Bach — Life and Work" and was produced in the year It is a DVD video about the life stations of Bach.
Published by the Publishing House Klaus-Jürgen Kamprad. As late as a DVD came into being. Vadim Glowna plays Johann Sebastian Bach, Jurgen Vogel the Prussian King and the other actors you probably don't know anyway.
Dominique de Rivaz was the director and film and DVD are both differently long: the film is 97 minutes, the DVD is 94 minutes. There is Bach's music in surround and sure, such a young work is still buyable.
Let me say again: not from me, not from my wife. And if you want to buy it, you can do it with one click. It is a very short production of only 30 minutes in length and you can still buy this film, of course.
Where can you buy it? However, it can also be viewed on Vimeo in its complete length of 43 minutes. To do this click here.
It is a television production, a mixture of documentation, authentic plus a little fiction, too.
Here is a little more information. You can buy it on Amazon. If I actually have forgotten one Bach film in the past years and you know about it I would like to add it on this page.
Is that one of the films in the sense of our question right on top of this page. At least it's the youngest of all Bach films. However, it's no film about a Bach.
Plus from the very beginning: in my opinion there is no English version. Anyway: It's just more than one of the films in the sense of FAQ If you check the trailer Plus really very specific Bach music.
It's about a subject, that is related to Johann Sebastian Bach. It's likeable, this little introduction to this our outsider of films in the matter of Bach.
A feel well comedy. And meanwhile you get it on DVD. For instance at Amazon. Here, by the way you get to the official website of Bach in Brazil.
The content: a former music teacher inherits handwritten note sheets of Bach, but he has to pick them up in person in Brasil.
Already the trailer makes you want to watch it, because well-known melodies are interpreted in a South American style. Here is a link to the content, but you will need Amazon Translate to get it Here's the address for more content.
Johann Kuhnau had been Thomaskantor in Leipzig from until his death on 5 June Bach had visited Leipzig during Kuhnau's tenure: in he attended the service at the St.
Thomas Church on the first Sunday of Advent,  and in he had tested the organ of the Paulinerkirche.
After being offered the position, Bach was invited to Leipzig only after Georg Philipp Telemann indicated that he would not be interested in relocating to Leipzig.
Bach was required to instruct the students of the Thomasschule in singing and provide church music for the main churches in Leipzig.
He was also assigned to teach Latin but was allowed to employ four "prefects" deputies to do this instead. The prefects also aided with musical instruction.
Bach usually led performances of his cantatas , most of which were composed within three years of his relocation to Leipzig. The first was Die Elenden sollen essen , BWV 75 , performed in the Nikolaikirche on 30 May , the first Sunday after Trinity.
Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant. Bach started a second annual cycle the first Sunday after Trinity of and composed only chorale cantatas , each based on a single church hymn.
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.
Bach's predecessor as cantor, Johann Kuhnau , had also been music director for the Paulinerkirche , the church of Leipzig University.
But when Bach was installed as cantor in , he was put in charge only of music for festal church holiday services at the Paulinerkirche ; his petition to also provide music for regular Sunday services there for a corresponding salary increase went all the way to the Elector but was denied.
After this, in , Bach "lost interest" in working even for festal services at the Paulinerkirche and appeared there only on "special occasions".
Bach broadened his composing and performing beyond the liturgy by taking over, in March , the directorship of the Collegium Musicum , a secular performance ensemble started by Telemann.
This was one of the dozens of private societies in the major German-speaking cities that were 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".
Many of Bach's works during the s and s 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 keyboard concertos.
He presented the manuscript to the Elector in an eventually successful bid to persuade the prince to give him the title of Court Composer.
Bach's appointment as Court Composer was an element of his long-term struggle to achieve greater bargaining power with the Leipzig council.
Between and , Bach's former pupil Carl Gotthelf Gerlach held the directorship of the Collegium Musicum. In Bach started to prepare his first publication of organ music, which was printed as the third Clavier-Übung in The king played a theme for Bach and challenged him to improvise a fugue based on his theme.
Bach obliged, playing a three-part fugue on one of Frederick's fortepianos , which was a new type of instrument at the time.
Upon his return to Leipzig he composed a set of fugues and canons, and a trio sonata, based on the Thema Regium theme of the king.
Within a few weeks this music was published as The Musical Offering and dedicated to Frederick. The Schübler Chorales , a set of six chorale preludes transcribed from cantata movements Bach had composed some two decades earlier, were published within a year.
Two large-scale compositions occupied a central place in Bach's last years. From around he wrote and revised the various canons and fugues of The Art of Fugue , which he continued to prepare for publication until shortly before his death.
Stauffer describes it as "Bach's most universal church work. Consisting mainly of recycled movements from cantatas written over a thirty-five-year period, it allowed Bach to survey his vocal pieces one last time and pick select movements for further revision and refinement.
In January , Bach's daughter Elisabeth Juliane Friederica married his pupil Johann Christoph Altnickol.
Bach's health was, however, declining. On 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Johann Gottlob Harrer , fill the Thomaskantor and Director musices posts "upon the eventual From an early age, Bach studied the works of his musical contemporaries of the Baroque period and those of prior generations, and those influences were reflected in his music.
Bach's music was harmonically more innovative than his peer composers, employing surprisingly dissonant chords and progressions, often with extensive exploration of harmonic possibilities within one piece.
The hundreds of sacred works Bach created are usually seen as manifesting not just his craft but also a truly devout relationship with God.
In elaborating these hymns into his chorale preludes, he wrote more cogent and tightly integrated works than most, even when they were massive and lengthy.
For example, the St Matthew Passion , like other works of its kind, illustrated the Passion with Bible text reflected in recitatives, arias, choruses, and chorales, but in crafting this work, Bach created an overall experience that has been found over the intervening centuries to be both musically thrilling and spiritually profound.
Bach published or carefully compiled in manuscript many collections of pieces that explored the range of artistic and technical possibilities inherent in almost every genre of his time except opera.
For example, The Well-Tempered Clavier comprises two books, each of which presents a prelude and fugue in every major and minor key, displaying a dizzying variety of structural, contrapuntal and fugal techniques.
Four-part harmonies predate Bach, but he lived during a time when modal music in Western tradition was largely supplanted in favour of the tonal system.
In this system a piece of music progresses from one chord to the next according to certain rules, each chord being characterised by four notes.
The principles of four-part harmony are found not only in Bach's four-part choral music: he also prescribes it for instance for the figured bass accompaniment.
Some examples of this characteristic of Bach's style and its influence:. Bach's insistence on the tonal system and contribution to shaping it did not imply he was less at ease with the older modal system and the genres associated with it: more than his contemporaries who had "moved on" to the tonal system without much exception , Bach often returned to the then-antiquated modi and genres.
His Chromatic Fantasia and Fugue , emulating the chromatic fantasia genre as used by earlier composers such as Dowland and Sweelinck in D dorian mode comparable to D minor in the tonal system , is an example of this.
Modulation , or changing key in the course of a piece, is another style characteristic where Bach goes beyond what was usual in his time.
Baroque instruments vastly limited modulation possibilities: keyboard instruments, prior to a workable system of temperament , limited the keys that could be modulated to, and wind instruments, especially brass instruments such as trumpets and horns , about a century before they were fitted with valves, were tied to the key of their tuning.
Bach pushed the limits: he added "strange tones" in his organ playing, confusing the singing, according to an indictment he had to face in Arnstadt,  and Louis Marchand , another early experimenter with modulation, seems to have avoided confrontation with Bach because the latter went further than anyone had done before.
The major development taking place in Bach's time, and to which he contributed in no small way, was a temperament for keyboard instruments that allowed their use in all available keys 12 major and 12 minor and also modulation without retuning.
His Capriccio on the departure of a beloved brother , a very early work, showed a gusto for modulation unlike any contemporary work this composition has been compared to,  but the full expansion came with the Well-Tempered Clavier , using all keys, which Bach apparently had been developing since around , the Klavierbüchlein für Wilhelm Friedemann Bach being one of its earliest examples.
The second page of the Klavierbüchlein für Wilhelm Friedemann Bach is an ornament notation and performance guide that Bach wrote for his eldest son, who was nine years old at the time.
Bach was generally quite specific on ornamentation in his compositions where in his time much of the ornamentation was not written out by composers but rather considered a liberty of the performer ,  and his ornamentation was often quite elaborate.
For instance, the "Aria" of the Goldberg Variations has rich ornamentation in nearly every measure. Bach's dealing with ornamentation can also be seen in a keyboard arrangement he made of Marcello 's Oboe Concerto : he added explicit ornamentation, which some centuries later is played by oboists when performing the concerto.
Although Bach did not write any operas, he was not averse to the genre or its ornamented vocal style.
In church music, Italian composers had imitated the operatic vocal style in genres such as the Neapolitan mass. In Protestant surroundings, there was more reluctance to adopt such a style for liturgical music.
For instance, Kuhnau, Bach's predecessor in Leipzig, had notoriously shunned opera and Italian virtuoso vocal music. One of the comments after a performance of his St Matthew Passion was that it all sounded much like opera.
In concerted playing in Bach's time the basso continuo, consisting of instruments such as organ, viola da gamba or harpsichord, usually had the role of accompaniment, providing the harmonic and rhythmic foundation of a piece.
From the late s, Bach had the organ play concertante i. In this sense, Bach played a key role in the development of genres such as the keyboard concerto.
Bach wrote virtuoso music for specific instruments as well as music independent of instrumentation. For instance, the sonatas and partitas for solo violin are considered the pinnacle of what has been written for this instrument, only within reach of accomplished players.
The music fits the instrument, pushing it to the full scale of its possibilities and requiring virtuosity of the player but without bravura.
Similarly, for the cello suites , the virtuoso music seems tailored for the instrument, the best of what is offered for it, yet Bach made an arrangement for lute of one of these suites.
The same applies to much of his most virtuoso keyboard music. Bach exploited the capabilities of an instrument to the fullest while keeping the core of such music independent of the instrument on which it is performed.
In this sense, it is no surprise that Bach's music is easily and often performed on instruments it was not necessarily written for, that it is transcribed so often, and that his melodies turn up in unexpected places such as jazz music.
Apart from this, Bach left a number of compositions without specified instrumentation: the canons BWV — fall in that category, as well as the bulk of the Musical Offering and the Art of Fugue.
Another characteristic of Bach's style is his extensive use of counterpoint , as opposed to the homophony used in his four-part Chorale settings, for example.
Bach's canons, and especially his fugues, are most characteristic of this style, which Bach did not invent but contributed to so fundamentally that he defined it to a large extent.
Fugues are as characteristic to Bach's style as, for instance, the Sonata form is characteristic to the composers of the Classical period.
These strictly contrapuntal compositions, and most of Bach's music in general, are characterised by distinct melodic lines for each of the voices, where the chords formed by the notes sounding at a given point follow the rules of four-part harmony.
Forkel , Bach's first biographer, gives this description of this feature of Bach's music, which sets it apart from most other music: .
If the language of music is merely the utterance of a melodic line, a simple sequence of musical notes, it can justly be accused of poverty.
The addition of a Bass puts it upon a harmonic foundation and clarifies it, but defines rather than gives it added richness. A melody so accompanied—even though all the notes are not those of the true Bass—or treated with simple embellishments in the upper parts, or with simple chords, used to be called "homophony.
In the first case the accompaniment is subordinate, and serves merely to support the first or principal part. In the second case the two parts are not similarly related.
New melodic combinations spring from their interweaving, out of which new forms of musical expression emerge. If more parts are interwoven in the same free and independent manner, the apparatus of language is correspondingly enlarged, and becomes practically inexhaustible if, in addition, varieties of form and rhythm are introduced.
Hence harmony becomes no longer a mere accompaniment of melody, but rather a potent agency for augmenting the richness and expressiveness of musical conversation.
To serve that end a simple accompaniment will not suffice. True harmony is the interweaving of several melodies, which emerge now in the upper, now in the middle, and now in the lower parts.
From about the year , when he was thirty-five, until his death in , Bach's harmony consists in this melodic interweaving of independent melodies, so perfect in their union that each part seems to constitute the true melody.
Herein Bach excels all the composers in the world. At least, I have found no one to equal him in music known to me. Even in his four-part writing we can, not infrequently, leave out the upper and lower parts and still find the middle parts melodious and agreeable.
Bach devoted more attention than his contemporaries to the structure of compositions. This can be seen in minor adjustments he made when adapting someone else's composition, such as his earliest version of the "Keiser" St Mark Passion , where he enhances scene transitions,  and in the architecture of his own compositions such as his Magnificat  and Leipzig Passions.
In the last years of his life, Bach revised several of his prior compositions. Often the recasting of such previously composed music in an enhanced structure was the most visible change, as in the Mass in B minor.
Bach's known preoccupation with structure led peaking around the s to various numerological analyses of his compositions, although many such over-interpretations were later rejected, especially when wandering off into symbolism-ridden hermeneutics.
The librettos , or lyrics, of his vocal compositions played an important role for Bach. He sought collaboration with various text authors for his cantatas and major vocal compositions, possibly writing or adapting such texts himself to make them fit the structure of the composition he was designing when he could not rely on the talents of other text authors.
His collaboration with Picander for the St Matthew Passion libretto is best known, but there was a similar process in achieving a multi-layered structure for his St John Passion libretto a few years earlier.
In , Wolfgang Schmieder published a thematic catalogue of Bach's compositions called the Bach-Werke-Verzeichnis Bach Works Catalogue. The first edition of the catalogue listed 1, surviving compositions indisputably composed by Bach.
BWV — were added to the catalogue in the second half of the 20th century, and BWV and higher were still later additions.
Bach composed Passions for Good Friday services and oratorios such as the Christmas Oratorio , which is a set of six cantatas for use in the liturgical season of Christmas.
With its double choir and orchestra, the St Matthew Passion is one of Bach's most extended works. The St John Passion was the first Passion Bach composed during his tenure as Thomaskantor in Leipzig.
According to his obituary, Bach would have composed five year-cycles of sacred cantatas , and additional church cantatas for weddings and funerals, for example.
Bach's cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses, small instrumental groups, and 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 melody of the concluding chorale often appears as a cantus firmus in the opening movement. Bach's earliest cantatas date from his years in Arnstadt and Mühlhausen.
The earliest one with a known date is Christ lag in Todes Banden , BWV 4 , for Easter , which is one of his chorale cantatas. After taking up his office as Thomaskantor in late May , Bach performed a cantata each Sunday and feast day, corresponding to the lectionary readings of the week.
For instance, the Visitation cantata Herz und Mund und Tat und Leben , BWV , containing the chorale that is known in English as "Jesu, Joy of Man's Desiring", belongs to this first cycle.
The cantata cycle of his second year in Leipzig is called the chorale cantata cycle as it consists mainly of works in the chorale cantata format.
His third cantata cycle was developed over a period of several years, followed by the Picander cycle of — Later church cantatas include the chorale cantatas Ein feste Burg ist unser Gott , BWV 80 final version  and Wachet auf, ruft uns die Stimme , BWV Apart from his own work, Bach also performed cantatas by Telemann and by his distant relative Johann Ludwig Bach.
Bach also wrote secular cantatas, for instance for members of the royal Polish and prince-electoral Saxonian families e. Trauer-Ode ,  or other public or private occasions e.
Hunting Cantata. Peasant Cantata  or Italian e. Amore traditore. BWV Anh. Der Streit zwischen Phoebus und Pan ,  and others were almost miniature buffo operas e.
Coffee Cantata. Bach's motets BWV — are pieces on sacred themes for choir and continuo, with instruments playing colla parte.
Several of them were composed for funerals. The motet Sei Lob und Preis mit Ehren BWV is part of the composite motet Jauchzet dem Herrn, alle Welt BWV Anh.
Bach's church music in Latin includes the Magnificat , four Kyrie—Gloria Masses , and the Mass in B minor. The first version of Bach's Magnificat dates from , but the work is best known in its D major version of