Johann Sebastian Bach |

Johann Sebastian Bach

Bach ba sabon abu bane, ba tsoho bane, wani abu ne mai yawa - yana da har abada… R. Schumann

Shekara ta 1520 ita ce tushen bishiyar zuriyar tsohuwar dangin Burger na Bachs. A Jamus, kalmomin "Bach" da "mawaƙin" sun kasance iri ɗaya na ƙarni da yawa. Koyaya, kawai a cikin na biyar tsara “daga tsakiyarsu… wani mutum ya fito wanda zane-zanensa na ɗaukaka ya haskaka wani haske mai haske wanda hasken wannan annuri ya faɗo a kansu. Johann Sebastian Bach ne, kyakkyawa da girman kai na iyalinsa da ƙasar uba, mutumin da, kamar ba kowa, ya sami kulawa ta hanyar fasaha na kiɗa. Don haka ya rubuta a cikin 1802 I. Forkel, mawallafin tarihin tarihin farko kuma ɗaya daga cikin masu ba da labari na gaskiya na mawaki a farkon sabon ƙarni, don shekarun Bach ya yi bankwana da babban malamin nan da nan bayan mutuwarsa. Amma ko da a lokacin rayuwar da aka zaɓa daga cikin "Art of Music" yana da wuya a kira wanda aka zaɓa na rabo. A waje, tarihin Bach ba shi da bambanci da tarihin kowane mawaƙin Jamus a farkon ƙarni na 1521-22. An haifi Bach a cikin ƙaramin garin Thuringian na Eisenach, wanda ke kusa da gidan tarihi na Wartburg, inda a cikin tsakiyar zamanai, bisa ga almara, launi na minnesang ya haɗu, kuma a cikin XNUMX-XNUMX. Kalmar M. Luther ta busa: a Wartburg babban mai gyara ya fassara Littafi Mai-Tsarki zuwa harshen uba.

JS Bach ba yaro ba ne, amma tun yana yaro, yana cikin yanayin kiɗa, ya sami ilimi sosai. Na farko, ƙarƙashin jagorancin babban ɗan'uwansa JK Bach da malaman makaranta J. Arnold da E. Herda a Ohrdruf (1696-99), sannan a makaranta a St. Michael's Church a Lüneburg (1700-02). A lokacin yana da shekaru 17, ya mallaki kaɗe-kaɗe, violin, viola, organ, rera waƙa a cikin ƙungiyar mawaƙa, kuma bayan sauya muryarsa, ya yi aiki a matsayin shugaba (mataimakin Cantor). Tun yana karami, Bach ya ji sana'arsa a fannin gabobin jiki, ba tare da gajiyawa ba ya yi karatu tare da masarautan Jamus ta Tsakiya da ta Arewa - J. Pachelbel, J. Lewe, G. Boehm, J. Reinken - fasahar inganta gabobin jiki, wanda shine tushen basirar rubutunsa. Don wannan ya kamata a kara daɗaɗɗen masaniya tare da kiɗan Turai: Bach ya shiga cikin kide kide da kide-kide na ɗakin sujada da aka sani da ɗanɗanonsa na Faransanci a cikin Celle, yana da damar samun tarin tarin manyan mashahuran Italiya waɗanda aka adana a ɗakin karatu na makaranta, kuma a ƙarshe, yayin ziyarar maimaitawa. zuwa Hamburg, zai iya sanin opera na gida.

A cikin 1702, wani mawaƙi mai ilimi ya fito daga bangon Michaelschule, amma Bach bai rasa ɗanɗanonsa na koyo ba, "koyi" duk abin da zai iya taimakawa wajen faɗaɗa hangen nesa na sana'a a duk rayuwarsa. Ƙoƙarin ci gaba na yau da kullun don ingantawa ya nuna aikinsa na kiɗa, wanda, bisa ga al'adar lokacin, yana da alaƙa da coci, birni ko kotu. Ba kwatsam ba, wanda ya ba da wannan ko wannan guraben, amma da ƙarfi da tsayin daka, ya tashi zuwa mataki na gaba na matsayi na kiɗa daga organist (Arnstadt da Mühlhausen, 1703-08) zuwa mashawarcin kide-kide (Weimar, 170817), mai kula da kiɗa (Keten, 171723). ), a ƙarshe, cantor kuma darektan kiɗa (Leipzig, 1723-50). A lokaci guda kuma, kusa da Bach, mawaƙi mai yin kida, mawaƙin Bach ya girma kuma ya sami ƙarfi, ya zarce iyakar takamaiman ayyukan da aka tsara masa a cikin abubuwan da ya haifar da ƙirƙira. An zargi Arnstadt organist saboda yin "banbanban ban mamaki da yawa a cikin chorale… wanda ya kunyata al'umma." Misalin wannan shine farkon shekaru goma na farko na karni na 33. 1985 chorales samu kwanan nan (1705) a matsayin wani ɓangare na na hali (daga Kirsimeti zuwa Easter) aiki tarin na Lutheran kwayoyin Tsakhov, kazalika da mawaki da theorist GA Sorge). Har ma mafi girma, waɗannan zagi na iya yin amfani da zagayowar gabobin farko na Bach, wanda tunaninsa ya fara ɗauka a Arnstadt. Musamman bayan ziyarar a cikin hunturu na 06-XNUMX. Lübeck, inda ya tafi a kiran D. Buxtehude (shahararren mawaki da organist yana neman magaji wanda, tare da samun wuri a cikin Marienkirche, ya shirya ya auri 'yarsa tilo). Bach bai tsaya a Lübeck ba, amma sadarwa tare da Buxtehude ya bar wani tasiri mai mahimmanci akan duk ayyukansa na gaba.

A shekara ta 1707, Bach ya ƙaura zuwa Mühlhausen domin ya ɗauki matsayin organist a cocin St. Blaise. Filin da ya ba da dama da ɗan girma fiye da na Arnstadt, amma a fili bai isa ba, a cikin kalmomin Bach da kansa, “yi ... kiɗan coci na yau da kullun kuma gabaɗaya, idan zai yiwu, yana ba da gudummawa ga… haɓaka kiɗan coci, wanda ke samun ƙarfi kusan kusan. a ko'ina, wanda ... wani babban repertoire na kyawawan rubuce-rubucen coci (sabuwar murabus da aka aika ga alkali na birnin Mühlhausen a ranar 25 ga Yuni, 1708). Wadannan nufin Bach zai aiwatar a Weimar a kotun Duke Ernst na Saxe-Weimar, inda yake jiran ayyuka iri-iri a cikin majami'ar castle da kuma cikin ɗakin sujada. A cikin Weimar, an zana siffa ta farko kuma mafi mahimmanci a cikin sashin gabobin. Ba a adana ainihin kwanakin ba, amma ya bayyana cewa (a tsakanin wasu da yawa) irin waɗannan ƙwararrun kamar Toccata da Fugue a cikin ƙananan ƙananan, Preludes da Fugues a cikin ƙananan ƙananan C da ƙananan F, Toccata a cikin manyan C, Passacaglia a cikin ƙananan C, da kuma sanannen ɗan littafin “Organ” wanda a cikinsa ake ba da “mafari organist jagora kan yadda ake gudanar da chorale ta kowace irin hanya.” Shahararriyar Bach, "mafi kyawun mai ba da shawara da mai ba da shawara, musamman ma game da halin da ake ciki… da kuma ginin gabobin jiki", da kuma "Phoenix of improvisation", ya bazu sosai. Don haka, shekarun Weimar sun haɗa da gasar da ba ta yi nasara ba tare da shahararren dan wasan Faransa da mawaƙa L. Marchand, wanda ya bar "filin yaƙi" kafin ya sadu da abokin hamayyarsa, wanda ya cika da almara.

Tare da nadinsa a cikin 1714 a matsayin mataimakin kapellmeister, mafarkin Bach na "kiɗa na coci na yau da kullun" ya zama gaskiya, wanda, bisa ga ka'idodin kwangilar, dole ne ya ba da kowane wata. Mafi yawa a cikin nau'in sabon cantata tare da tushen rubutun roba (kalmomin Littafi Mai-Tsarki, stanzas choral, free, "madrigal" shayari) da kuma abubuwan da suka dace da kida (gabatar da kade-kade, "bushe" kuma tare da recitatives, aria, chorale). Duk da haka, tsarin kowane cantata yayi nisa daga kowane ra'ayi. Ya isa a kwatanta irin waɗannan lu'u-lu'u na murya na farko da kerawa na kayan aiki kamar BWV {Bach-Werke-Verzeichnis (BWV) - jerin jigo na ayyukan da JS Bach.} 11, 12, 21. Bach bai manta game da "tattarar repertoire" na sauran mawakan. Irin waɗannan, alal misali, ana kiyaye su a cikin kwafin Bach na zamanin Weimar, wataƙila an shirya su don wasan kwaikwayon mai zuwa na Passion for Luke ta marubucin da ba a san shi ba (na dogon lokaci da kuskuren danganta ga Bach) da Passion for Mark by R. Kaiser, wanda ya zama abin koyi ga nasu ayyukan a cikin wannan nau'in.

Babu ƙarancin aiki shine Bach - kammermusikus da mashawarcin kide-kide. Kasancewa a tsakiyar rayuwar kida na kotun Weimar, zai iya zama sananne da kiɗan Turai. Kamar koyaushe, wannan sanin da Bach ya kasance mai kirkira, kamar yadda aka tabbatar da tsarin gabobin kide-kide na A. Vivaldi, shirye-shiryen clavier na A. Marcello, T. Albinoni da sauransu.

Shekarun Weimar kuma suna da alaƙa da roko na farko zuwa nau'in solo violin sonata da suite. Duk waɗannan gwaje-gwajen kayan aiki sun sami kyakkyawan aiwatar da su akan sabon ƙasa: a cikin 1717, an gayyaci Bach zuwa Keten zuwa wurin Grand Ducal Kapellmeister na Anhalt-Keten. Kyakkyawan yanayi na kida ya yi sarauta a nan godiya ga Yarima Leopold na Anhalt-Keten da kansa, mai son kiɗa da mawaƙi wanda ya buga garaya, gamba, kuma yana da murya mai kyau. Abubuwan kirkira na Bach, waɗanda ayyukansu sun haɗa da rakiyar waƙar yarima da wasa, kuma mafi mahimmanci, jagorancin babban ɗakin sujada wanda ya ƙunshi ƙwararrun ƙungiyar mawaƙa 15-18, a zahiri suna motsawa zuwa yankin kayan aiki. Solo, mafi yawa violin da ƙungiyar kade-kade, gami da 6 na Brandenburg concertos, ƙungiyar makaɗa, solo violin da cello sonatas. Irin wannan shine rashin cikar rajista na "girbi" na Keten.

A cikin Keten, an buɗe wani layi (ko kuma a ci gaba, idan muna nufin "Littafin Organ") a cikin aikin maigidan: abubuwan da aka tsara don dalilai na ilmantarwa, a cikin harshen Bach, "don fa'ida da amfani da matasa masu kida masu ƙoƙarin koyo." Na farko a cikin wannan jerin shine Wilhelm Friedemann Bach's Music Notebook (wanda aka fara a 1720 don ɗan fari kuma wanda mahaifinsa ya fi so, shahararren mawaki na gaba). Anan, ban da raye-rayen raye-raye da shirye-shiryen chorales, akwai samfurori na juzu'i na 1 na Well-Tempered Clavier (prelude), Ƙirƙirar sassa biyu da uku (gabatarwa da fantasies). Bach da kansa zai kammala waɗannan tarin a cikin 1722 da 1723, bi da bi.

A cikin Keten, an fara "Littafin rubutu na Anna Magdalena Bach" (matar ta biyu ta mawaki), wanda ya haɗa da, tare da guntu daga marubuta daban-daban, 5 cikin 6 "Faransanci Suites". A cikin shekarun nan, an halicci "Little Preludes da Fughettas", "English Suites", "Chromatic Fantasy da Fugue" da sauran clavier qagaggun. Kamar yadda yawan daliban Bach ke karuwa daga shekara zuwa shekara, sai aka sake cika wakokinsa na koyarwa, wanda ya sa aka kaddara ya zama makarantar koyar da fasaha ga dukkan tsararrakin mawakan da suka biyo baya.

Jerin abubuwan opuses na Keten ba zai cika ba ba tare da ambaton ƙa'idodin murya ba. Wannan jerin jerin cantatas ne na duniya baki ɗaya, yawancin waɗanda ba a kiyaye su ba kuma sun sami rayuwa ta biyu riga da sabon rubutu na ruhaniya. A hanyoyi da yawa, da latent, ba kwance a kan surface aiki a cikin vocal filin (a cikin Reformed Church of Keten "na yau da kullum music" ba a bukata) haifar da 'ya'ya a cikin na karshe kuma mafi m lokaci na master aiki.

Bach ya shiga sabon filin cantor na St. Thomas School da kuma daraktan kiɗa na birnin Leipzig ba fanko ba: "gwaji" cantatas BWV 22, 23 an riga an rubuta; Girma; "Soyayya bisa ga John". Leipzig ita ce tasha ta ƙarshe na yawo na Bach. A zahiri, musamman idan aka yi la'akari da kashi na biyu na takensa, an kai saman matsayi na hukuma a nan. A lokaci guda kuma, "Alƙawarin" (14 wuraren bincike), wanda dole ne ya sanya hannu kan "dangane da ɗaukar ofis" da kuma rashin cikawa wanda ke cike da rikici tare da coci da hukumomin birni, ya ba da shaida ga rikitarwa na wannan sashi. tarihin rayuwar Bach. Shekaru 3 na farko (1723-26) sun keɓe ga kiɗan coci. Har sai da jayayya da hukumomi suka fara, kuma alkalin kotun ya ba da kuɗin kiɗan liturgical, wanda ke nufin cewa ƙwararrun mawaƙa za su iya shiga cikin wasan kwaikwayon, ƙarfin sabon Cantor bai san iyaka ba. Duk gogewar Weimar da Köthen sun zube cikin kerawa na Leipzig.

Ma'aunin abin da aka ɗauka da kuma aikatawa a cikin wannan lokacin yana da ƙima da gaske: fiye da cantatas 150 da aka ƙirƙira kowane mako (!), 2nd ed. "Passion bisa ga Yahaya", kuma bisa ga sabon bayanai, da kuma "Passion bisa ga Matta". A farko na wannan mafi monumental aiki na Bach da dama ba a 1729, kamar yadda aka yi tunani har yanzu, amma a 1727. Ragewa a cikin tsanani na Cantor ta aiki, da dalilan da Bach ya tsara a cikin sanannun "Project ga mai kyau". saitin al'amura a cikin kiɗan coci, tare da ƙarin wasu la'akari marasa son rai game da raguwarta" (Agusta 23, 1730, bayanin da aka ba majistare na Leipzig), an biya diyya ta ayyuka daban-daban. Bach Kapellmeister ya sake zuwa kan gaba, a wannan lokacin yana jagorantar kiɗan Collegium na ɗalibi. Bach ya jagoranci wannan da'irar a cikin 1729-37, sannan a cikin 1739-44 (?) Tare da kide-kide na mako-mako a cikin Lambun Zimmermann ko Gidan Kofi na Zimmermann, Bach ya ba da babbar gudummawa ga rayuwar kiɗan jama'a na birni. Repertoire shi ne mafi bambancin: symphonies (Orchestral suites), masu zaman kansu cantatas kuma, ba shakka, concertos - "gurasa" na duk mai son da kuma sana'a tarurruka na zamanin. A nan ne musamman Leipzig iri-iri na Bach ta concertos mafi m ya tashi - ga clavier da makada, waxanda suke da adaptations na kansa concertos ga violin, violin da oboe, da dai sauransu Daga cikinsu akwai gargajiya concertos a D qananan, F qananan, A manyan. .

Tare da taimakon aiki na da'irar Bach, rayuwar kiɗan birni a Leipzig ita ma ta ci gaba, ko "kaɗe-kaɗen kaɗe-kaɗe ne a ranar babbar ranar sunan Augustus II, wanda aka yi da yamma a ƙarƙashin haske a cikin lambun Zimmermann", ko " Waƙar maraice tare da ƙaho da timpani" don girmama Augustus guda ɗaya, ko kyawawan " kiɗan dare tare da tociyoyin kakin zuma da yawa, tare da sautin ƙaho da timpani", da dai sauransu. wuri na musamman na Missa ne da aka keɓe ga Augustus III (Kyrie, Gloria, 1733) - wani ɓangare na wani babban abin ƙirƙira na Bach - Mass in B qananan, wanda aka kammala kawai a cikin 1747-48. A cikin shekaru goma da suka gabata, Bach ya fi mayar da hankali kan kiɗa kyauta daga kowace manufa. Waɗannan su ne juzu'i na biyu na The Well-Tempered Clavier (1744), da kuma partitas, Italiyanci Concerto, Organ Mass, da Aria tare da Daban-daban iri-iri (mai suna Goldberg's bayan mutuwar Bach), waɗanda aka haɗa a cikin tarin Clavier Exercises. . Ba kamar kiɗan liturgical ba, wanda a fili Bach ya ɗauki yabo ga sana'ar, ya nemi ya ba jama'a abubuwan da ba a yi amfani da su ba. A ƙarƙashin editan nasa, Clavier Exercises da wasu ƙididdiga masu yawa an buga su, ciki har da 2 na ƙarshe, manyan ayyukan kayan aiki.

A cikin 1737, masanin falsafa da masanin tarihi, dalibi na Bach, L. Mitzler, ya shirya Society of Musical Sciences a Leipzig, inda counterpoint, ko, kamar yadda za mu ce yanzu, polyphony, an gane shi a matsayin "na farko tsakanin daidaitattun". A lokuta daban-daban, G. Telemann, GF Handel ya shiga Society. A cikin 1747, mafi girma polyphonist JS Bach ya zama memba. A cikin wannan shekarar, mawaƙin ya ziyarci gidan sarauta a Potsdam, inda ya ƙera sabon kayan aiki a wancan lokacin - piano - a gaban Frederick II akan taken da ya kafa. An mayar da ra'ayin sarauta ga marubucin ɗari ɗari - Bach ya ƙirƙira wani abin tunawa mara misaltuwa na zane-zane - "Bayyana Kiɗa", babban zagayowar canons 10, ricercars biyu da sonata mai kashi huɗu don sarewa, violin da garaya.

Kuma kusa da "Bayarwa Kiɗa" sabon zagayowar "dukiya-duhu" yana girma, ra'ayin wanda ya samo asali a farkon 40s. Shi ne "Art of the Fugue" wanda ya ƙunshi kowane nau'i na ƙididdiga da canons. "Rashin lafiya (zuwa ƙarshen rayuwarsa, Bach ya makance. - TF) ya hana shi kammala fugue na ƙarshe… da kuma yin aiki na ƙarshe… Wannan aikin ya ga haske ne kawai bayan mutuwar marubucin, ”wanda ke nuna mafi girman matakin fasaha na polyphonic.

Wakilin karshe na al'adun gargajiya na ƙarni da yawa kuma a lokaci guda mai zane-zane na duniya na sabon lokaci - wannan shine yadda JS Bach ya bayyana a cikin tarihin tarihi. Mawaƙin da ya gudanar ba kamar kowa ba a lokacin karimcinsa don manyan sunaye don haɗawa da rashin jituwa. Canon Yaren mutanen Holland da wasan kide-kide na Italiya, ƙungiyar mawaƙa ta Furotesta da rarrabuwar kawuna na Faransanci, liturgical monody da virtuosic aria na Italiyanci… Haɗa duka a kwance da kuma a tsaye, duka cikin faɗi da zurfi. Saboda haka, don haka cikin yardar kaina shiga cikin kiɗansa, a cikin kalmomin zamanin, salon "gidan wasan kwaikwayo, ɗakin gida da coci", polyphony da homophony, kayan aiki da farkon murya. Wannan shine dalilin da ya sa sassa daban-daban suna ƙaura cikin sauƙi daga abun da ke ciki zuwa abun da ke ciki, duka suna adanawa (kamar yadda, alal misali, a cikin Mass a cikin ƙananan B, kashi biyu cikin uku wanda ya ƙunshi kiɗan da aka rigaya), kuma suna canza kamannin su: aria daga Bikin Bikin aure Cantata. (BWV 202) ya zama ƙarshen violin da sonatas (BWV 1019), wasan kwaikwayo da mawaƙa daga cantata (BWV 146) sun yi kama da na farko da jinkirin sassan clavier Concerto a cikin D ƙananan (BWV 1052), overture daga ƙungiyar mawaƙa a cikin D manyan (BWV 1069), wadatar da sautin choral, yana buɗe cantata BWV110. Misalai na wannan nau'in sun ƙunshi dukan kundin sani. A cikin komai (banda kawai opera), maigidan yayi magana cikakke kuma gabaɗaya, kamar yana kammala juyin halittar wani nau'in. Kuma alama ce mai zurfi cewa sararin samaniyar tunanin Bach The Art of the Fugue, wanda aka rubuta a cikin nau'i na maki, ba ya ƙunshi umarnin don yin aiki. Bach, kamar yadda yake, yana magana da shi dukan mawaƙa. "A cikin wannan aikin," F. Marpurg ya rubuta a cikin gabatarwar littafin The Art of Fugue, "mafi ɓoye kyawawan kyawawan da ake iya ɗauka a cikin wannan fasaha an rufe su ..." Waɗannan kalmomi ba su ji ta wurin mafi kusa da mawaƙa ba. Babu wani mai siye ba kawai don ƙayyadaddun biyan kuɗi kawai ba, har ma don "ayyukan tsafta da tsaftataccen alluna" na babban aikin Bach, wanda aka sanar don siyarwa a 1756 "daga hannu zuwa hannu a farashi mai ma'ana" na Philippe Emanuel, "don haka wannan aikin ne don amfanin jama'a - ya zama sananne a ko'ina. Garin mantuwa ya ratsa sunan babban cantor. Amma wannan mantuwar bai tava cika ba. Ayyukan Bach, waɗanda aka buga, kuma mafi mahimmanci, rubuce-rubucen hannu - a cikin autographs da kwafi da yawa - sun zauna a cikin tarin ɗalibansa da masu ba da labari, duka fitattu kuma gabaɗaya. Daga cikinsu akwai mawaƙa I. Kirnberger da F. Marpurg da aka riga aka ambata; babban mashawarcin tsohon kiɗa, Baron van Swieten, wanda WA ​​Mozart ya shiga Bach a cikin gidansa; mawaki kuma malami K. Nefe, wanda ya karfafa soyayya ga Bach ga dalibinsa L. Beethoven. Tuni a cikin 70s. Karni na 11 ya fara tattara kayan don littafinsa I. Forkel, wanda ya kafa harsashin sabon reshe na ilimin kida na gaba - nazarin Bach. A farkon karni, darektan Cibiyar Waƙa ta Berlin, aboki kuma wakilin IW Goethe K. Zelter, ya kasance mai himma sosai. Wanda ya mallaki tarin tarin rubuce-rubucen Bach, ya ba da ɗaya daga cikinsu ga F. Mendelssohn ɗan shekara ashirin. Waɗannan su ne Matiyu Passion, aikin tarihi wanda a ranar Mayu 1829, XNUMX ya sanar da zuwan sabon zamanin Bach. "Littafin rufaffiyar, wata taska da aka binne a cikin ƙasa" (B. Marx) an buɗe, kuma wani rafi mai ƙarfi na "Motsi na Bach" ya mamaye dukan duniyar kiɗa.

A yau, an tara gogewa sosai wajen yin nazari da haɓaka aikin babban mawaki. Ƙungiyar Bach ta wanzu tun 1850 (tun 1900, New Bach Society, wanda a cikin 1969 ya zama ƙungiya ta duniya tare da sassan GDR, FRG, Amurka, Czechoslovakia, Japan, Faransa, da sauran ƙasashe). A kan shirin na NBO, ana gudanar da bukukuwan Bach, da kuma gasa na kasa da kasa na masu yin wasan kwaikwayo. JS Baci. A shekara ta 1907, bisa shirin NBO, an bude gidan tarihi na Bach a Eisenach, wanda a yau yana da takwarorinsa da dama a birane daban-daban na Jamus, ciki har da wanda aka bude a shekarar 1985 a bikin cika shekaru 300 da haifuwar mawaki "Johann- Sebastian-Bach- Museum" a cikin Leipzig.

Akwai babbar hanyar sadarwa na cibiyoyin Bach a duniya. Mafi girma daga cikinsu su ne Bach-Institut a Göttingen (Jamus) da Cibiyar Bincike da Tunawa da Jama'a ta JS Bach a Tarayyar Jamus a Leipzig. Shekarun baya-bayan nan an sami alamun nasarori masu mahimmanci: an buga tarin Bach-Documente mai juzu'i huɗu, an kafa sabon tsarin tsararrun murya, da kuma Art of the Fugue, 14 canons da ba a san su ba daga Goldberg Variations da chorales 33 don sashin jiki an buga su. Tun 1954, Cibiyar a Göttingen da Bach Center a Leipzig suna aiwatar da wani sabon muhimmin bugu na cikakken ayyukan Bach. Ana ci gaba da buga jerin abubuwan nazari da bibliographic na ayyukan Bach "Bach-Compendium" tare da haɗin gwiwar Jami'ar Harvard (Amurka).

Tsarin sarrafa al'adun Bach ba shi da iyaka, kamar yadda Bach da kansa ba shi da iyaka - tushen da ba zai ƙarewa ba (bari mu tuna da sanannen wasa akan kalmomi: der Bach - rafi) na mafi girman abubuwan da ruhun ɗan adam ya samu.

T. Frumkis

Halayen kerawa

Aikin Bach, wanda kusan ba a san shi ba a lokacin rayuwarsa, an manta da shi na dogon lokaci bayan mutuwarsa. An ɗauki lokaci mai tsawo kafin a iya gaske godiya ga gadon da babban mawaƙi ya bari.

Ci gaban fasaha a cikin karni na XNUMX ya kasance mai rikitarwa kuma ya saba wa juna. Tasirin tsohuwar akidar feudal-aristocratic yana da ƙarfi; amma tsiro na sabon bourgeoisie, wanda ke nuna buƙatun ruhaniya na matasa, ajin ci gaban tarihi na bourgeoisie, sun riga sun kunno kai kuma suna girma.

A cikin gwagwarmaya mafi girma na kwatance, ta hanyar ƙin yarda da lalata tsoffin siffofi, an tabbatar da sabon fasaha. Matsayin sanyi na bala'i na gargajiya, tare da ka'idojinsa, makircinsa, da hotunan da aka kafa ta hanyar aristocratic aesthetics, wani labari na bourgeois ya yi adawa da shi, wasan kwaikwayo mai mahimmanci daga rayuwar Filistiyawa. Ya bambanta da wasan opera na kotu na al'ada da na ado, an inganta ƙarfin, sauƙi da yanayin dimokuradiyya na wasan kwaikwayo na ban dariya; haske da kaɗe-kaɗe na yau da kullun marasa ma'ana an gabatar da su gaba da fasahar cocin "koyi" na masu yawan phonists.

A karkashin irin wannan yanayi, fifikon siffofi da hanyoyin magana da aka gada daga baya a cikin ayyukan Bach ya ba da dalilin la'akari da aikinsa na tsufa kuma yana da wahala. A lokacin yaɗuwar sha'awar fasahar galant, tare da kyawawan siffofinta da abun ciki mai sauƙi, kiɗan Bach ya yi kama da rikitarwa da rashin fahimta. Hatta ’ya’yan mawakin ba su ga komai a aikin mahaifinsu ba sai koyo.

Bach ya fito fili ya fifita mawakan da ba a adana sunayensu ba; a gefe guda, ba su “yi amfani da koyo kawai” ba, suna da “ɗanɗano, haske da jin tausayi.”

Mabiya kidan cocin Orthodox ma sun yi adawa da Bach. Don haka, aikin Bach, wanda yake da nisa kafin lokacinsa, masu goyon bayan fasaha na fasaha sun musanta, da kuma waɗanda suka ga gaskiya a cikin kiɗan Bach cin zarafin coci da tarihin tarihi.

A cikin gwagwarmayar jagororin masu cin karo da juna na wannan lokaci mai mahimmanci a cikin tarihin kiɗa, a hankali wani yanayi na gaba ya bayyana, hanyoyin ci gaban wannan sabon abu sun kunno kai, wanda ya haifar da nuna juyayi na Haydn, Mozart, zuwa fasahar wasan kwaikwayo na Gluck. Kuma kawai daga tsayi, wanda manyan masu fasaha na ƙarshen karni na XNUMX suka haɓaka al'adun kiɗa, babban abin gado na Johann Sebastian Bach ya zama bayyane.

Mozart da Beethoven sune farkon waɗanda suka gane ainihin ma'anarsa. Lokacin da Mozart, wanda ya riga ya rubuta littafin The Marriage of Figaro da Don Giovanni, ya san ayyukan Bach, wanda ba a san shi ba a baya, ya ce: "Akwai abubuwa da yawa da za a koya a nan!" Beethoven da ƙwazo ya ce: “Misali ist kein Bach – er ist ein Ozean” (“Ba rafi ba – teku ne”). In ji Serov, waɗannan kalmomi na alama sun fi bayyana “zurfin tunani da kuma nau’i-nau’i iri-iri da ba su ƙarewa a cikin hazakar Bach.”

Tun daga karni na 1802, jinkirin farfado da aikin Bach ya fara. A cikin 1850, tarihin farko na mawaki ya bayyana, wanda masanin tarihin Jamus Forkel ya rubuta; tare da kayan arziki da ban sha'awa, ta jawo hankali ga rayuwa da halin Bach. Godiya ga farfagandar aiki na Mendelssohn, Schumann, Liszt, kiɗan Bach ya fara shiga cikin yanayi mai faɗi a hankali. A cikin 30, an kafa Bach Society, wanda ya kafa a matsayin burinsa don nemo da tattara duk kayan aikin rubutun da ke cikin babban mawaƙin, da kuma buga shi a cikin nau'i na cikakken tarin ayyuka. Tun daga karni na XNUMX na karni na XNUMX, aikin Bach ya kasance a hankali ya shiga cikin rayuwar kiɗa, sauti daga mataki, kuma an haɗa shi a cikin labaran ilimi. Amma akwai ra'ayoyi da yawa masu karo da juna a cikin fassarar da kimanta kidan Bach. Wasu masana tarihi sun bayyana Bach a matsayin mai tunani mai zurfi, yana aiki tare da tsarin kida da lissafi, wasu sun gan shi a matsayin mai sihiri wanda ya rabu da rayuwa ko kuma mawaƙin cocin cocin masu taimakon al'umma.

Musamman mara kyau don fahimtar ainihin abubuwan da ke cikin kiɗan Bach shine hali zuwa gare ta azaman ma'aji na "hikima" polyphonic. A zahiri ra'ayi makamancin haka ya rage aikin Bach zuwa matsayin jagora ga ɗaliban polyphony. Serov ya rubuta game da wannan cikin fushi: "Akwai lokacin da dukan duniya mawaƙa suka kalli kiɗan Sebastian Bach a matsayin datti na makaranta, ƙazanta, wanda wani lokaci, alal misali, a Clavecin bien tempere, ya dace da motsa jiki, tare da yatsa. tare da zane-zane ta Moscheles da motsa jiki ta Czerny. Tun daga zamanin Mendelssohn, dandano ya sake karkata zuwa Bach, har ma fiye da lokacin da shi da kansa ya rayu - kuma a yanzu akwai "darektocin masu ra'ayin mazan jiya" waɗanda, da sunan ra'ayin mazan jiya, ba sa jin kunyar koyar da ɗalibansu. don kunna fugues na Bach ba tare da bayyanawa ba, watau, a matsayin "motsa jiki", a matsayin motsa jiki na karya yatsa ... Idan akwai wani abu a cikin filin kiɗa da ke buƙatar kusanci ba daga ƙarƙashin ferula ba kuma tare da mai nuna alama a hannu, amma tare da ƙauna a cikin zuciya, tare da tsoro da bangaskiya, shine, ayyukan babban Bach.

A cikin Rasha, an yanke shawara mai kyau game da aikin Bach a ƙarshen karni na XNUMX. Wani bita na ayyukan Bach ya bayyana a cikin "Littafin Aljihu don Masoyan kiɗa" da aka buga a St.

Ga manyan mawakan Rasha, fasahar Bach ta kasance siffa ta ƙaƙƙarfan ƙarfin ƙirƙira, haɓakawa da haɓaka al'adun ɗan adam. Mawaƙa na Rasha na ƙarni daban-daban da kuma al'amuran sun sami damar fahimta a cikin hadaddun Bach polyphony babban waƙoƙin ji da ingantaccen ikon tunani.

Zurfin hotunan kiɗan Bach ba shi da ƙima. Kowannen su yana iya ƙunsar cikakken labari, waƙa, labari; Ana samun manyan abubuwan mamaki a cikin kowannensu, wanda za'a iya tura shi daidai a cikin manyan zane-zane na kiɗa ko mai da hankali a cikin ƙaramin laconic.

Bambance-bambancen rayuwa a cikin abubuwan da suka gabata, na yanzu da kuma nan gaba, duk abin da mawaƙin da aka yi wahayi zai iya ji, abin da mai tunani da falsafa zai iya yin tunani a kai, yana kunshe ne a cikin fasahar Bach. Babban kewayon ƙirƙira ya ba da izinin aiki na lokaci ɗaya akan ayyukan ma'auni, nau'o'i, da siffofi daban-daban. Waƙar Bach ta dabi'a ta haɗu da ƙayyadaddun nau'ikan sha'awar sha'awa, B-ƙaramin Mass tare da sauƙi mara ƙarfi na ƙananan preludes ko ƙirƙira; wasan kwaikwayo na tsararrun gabobin da cantatas - tare da waƙoƙin tunani na preludes na choral; sautin ɗakin ɗakin filigree preludes da fugues na Well-Tempered Clavier tare da virtuoso haske da kuzari na Brandenburg Concertos.

Mahimmancin tunani da falsafa na kiɗan Bach yana cikin zurfafan ɗan adam, cikin ƙauna marar son kai ga mutane. Yana tausayawa wanda yake cikin bakin ciki, yana raba farin cikinsa, yana tausayawa son gaskiya da adalci. A cikin fasaharsa, Bach yana nuna mafi kyawun daraja da kyau wanda ke ɓoye a cikin mutum; pathos na ra'ayin da'a ya cika da aikinsa.

Ba a cikin gwagwarmayar gwagwarmaya ba kuma ba a cikin ayyukan jaruntaka ba Bach ya nuna gwarzon sa. Ta hanyar abubuwan da suka shafi tunanin mutum, tunani, ji, halinsa ga gaskiya, ga duniyar da ke kewaye da shi yana nunawa. Bach baya motsawa daga rayuwa ta gaske. Gaskiyar gaskiya ce, wahalhalun da jama'ar Jamus suka sha, suka haifar da hotunan bala'i mai girma; Ba don komai ba ne jigon wahala ke gudana a cikin duk kiɗan Bach. Amma duhun duniyar da ke kewaye da shi ba zai iya lalata ko kawar da jin daɗin rayuwa na har abada ba, farin cikinta da babban bege. Jigogi na jubilation, sha'awar sha'awa suna haɗuwa tare da jigogi na wahala, suna nuna gaskiya a cikin bambancin haɗin kai.

Bach yana da girma daidai da bayyana sauƙin ɗan adam da kuma isar da zurfin hikimar jama'a, a cikin babban bala'i da kuma bayyana burin duniya ga duniya.

Bach's art yana da alaƙa da kusanci da haɗin kai na duk sassan sa. Haɗin kai na abun ciki na alama yana sanya al'adun gargajiya na sha'awar sha'awa da ke da alaƙa da ƙanƙara na Clavier Mai Sauƙi, manyan frescoes na ƙaramin B-ƙaranan taro - tare da suites don violin ko garaya.

Bach ba shi da wani muhimmin bambanci tsakanin kiɗan ruhaniya da na duniya. Abin da ya fi dacewa shi ne yanayin hotunan kiɗa, hanyoyin da ake amfani da su, hanyoyin ci gaba. Ba daidaituwa ba ne cewa Bach da sauƙin canjawa daga ayyukan duniya zuwa na ruhaniya ba kawai jigogi na mutum ɗaya ba, manyan sassan, amma har ma da lambobi da aka kammala duka, ba tare da canza ko dai shirin abun da ke ciki ba ko yanayin kiɗan. Jigogi na wahala da baƙin ciki, tunanin falsafa, jin daɗin baƙar fata mara fa'ida ana iya samun su a cikin cantatas da oratorios, a cikin fantasies da fugues, a cikin clavier ko violin suites.

Ba na aikin wani nau'i na ruhaniya ko na duniya ne ke ƙayyade muhimmancinsa ba. Ƙimar dawwamammen abubuwan da Bach ya yi ta ta'allaka ne a cikin ɗaukakar ra'ayoyi, a cikin zurfin ɗa'a ma'anar da ya sanya a cikin kowane abun da ke ciki, na duniya ko na ruhaniya, a cikin kyakkyawa da ƙarancin kamala na siffofi.

Ƙirƙirar Bach tana da ƙarfin ƙarfinsa, tsaftar ɗabi'a mara shuɗewa da ƙarfi mai ƙarfi ga fasahar jama'a. Bach ya gaji al'adun rubuce-rubucen jama'a da yin kida daga tsararraki masu yawa na mawaƙa, sun zauna a cikin zuciyarsa ta hanyar fahimtar al'adun kiɗa na rayuwa kai tsaye. A ƙarshe, bincike na kusa da abubuwan tarihi na fasahar kiɗan jama'a ya ƙara ilimin Bach. Irin wannan abin tunawa da kuma a lokaci guda tushen kirkire-kirkire a gare shi shi ne waƙar Furotesta.

Waƙar Protestant tana da dogon tarihi. A lokacin gyarawa, wake-wake, kamar wakokin soja, sun zaburar da al’umma da hadin kan al’umma wajen gwagwarmaya. Waƙar “Ubangiji shine kagaranmu”, wanda Luther ya rubuta, ya ƙunshi ƙwazo na Furotesta, ya zama waƙar gyarawa.

Ɗaukakawa sun yi amfani da waƙoƙin jama'a da yawa, waƙoƙin waƙa waɗanda suka daɗe da zama gama gari a rayuwar yau da kullun. Ba tare da la'akari da abubuwan da suka kasance a baya ba, sau da yawa marasa ma'ana da shubuha, an manne musu nassosin addini, kuma sun rikide zuwa wakoki. Yawan chorales sun haɗa ba kawai waƙoƙin jama'a na Jamus ba, har ma da na Faransanci, Italiyanci, da Czech.

Maimakon waƙoƙin Katolika na baƙo ga mutane, waɗanda ƙungiyar mawaƙa ke rera a cikin yaren Latin da ba za a iya fahimta ba, ana gabatar da waƙoƙin waƙoƙin waƙoƙin da za a iya amfani da su ga dukan Ikklesiya, waɗanda dukan al'umma ke rera a cikin harshensu na Jamusanci.

Don haka waƙar duniya ta samu gindin zama kuma ta dace da sabuwar al'ada. Domin “dukkan jama’ar Kirista su shiga cikin rera waƙa”, ana fitar da waƙar chorale cikin babbar murya, sauran muryoyin kuma su zama masu raka; hadadden polyphony an sauƙaƙa kuma an tilasta shi daga chorale; an kafa ɗakin ajiyar waƙoƙin choral na musamman wanda rhythmic akai-akai, dabi'ar haɗuwa a cikin kullun duk muryoyin da haskakawa na sama na sama an haɗa su tare da motsi na muryoyin tsakiya.

Haɗuwa ta musamman ta polyphony da luwadi alama ce ta chorale.

Wakokin jama'a, sun zama mawaƙa, duk da haka sun kasance waƙoƙin jama'a, kuma tarin waƙoƙin Furotesta sun zama ma'ajiya da taskar waƙoƙin jama'a. Bach ya fitar da mafi kyawun kayan waƙa daga waɗannan tsoffin tarin; ya koma wakokin mawaka abin da ke cikin rai da ruhin wakokin Furotesta na gyare-gyare, ya mayar da kade-kaden wakar zuwa ga tsohuwar ma’anarta, wato, tada chorale a matsayin wani nau’i na bayyana tunani da ji na mutane.

Chorale ba shine kawai nau'in haɗin kiɗan Bach tare da fasahar jama'a ba. Mafi ƙarfi kuma mafi fa'ida shine tasirin kiɗan nau'ikan nau'ikansa daban-daban. A cikin ɗakunan kayan aiki da yawa da sauran guda, Bach ba kawai ya sake yin hotunan kiɗan yau da kullun ba; yana haɓaka ta wata sabuwar hanya da yawa daga cikin nau'o'in da aka kafa musamman a cikin rayuwar birane da kuma samar da damammaki don ci gaban su.

Ana iya samun fom ɗin aro daga kiɗan jama'a, waƙa da waƙoƙin raye-raye a kowane ɗayan ayyukan Bach. Ba a ma maganar kiɗan duniya ba, yana amfani da su ko'ina kuma ta hanyoyi dabam-dabam a cikin ruhinsa: a cikin cantatas, oratorios, sha'awa, da kuma B-aramin Mass.

* * * *

Abubuwan kirkira na Bach sun kusan girma. Ko da abin da ya tsira ya ƙidaya ɗaruruwan sunaye. Hakanan an san cewa babban adadin abubuwan abubuwan Bach sun juya sun zama batattu ba zato ba tsammani. Daga cikin guda dari uku na cantatas na Bach, kusan ɗari sun ɓace ba tare da wata alama ba. Daga cikin sha'awa guda biyar, Soyayya bisa ga Yahaya da Sha'awa bisa ga Matiyu an kiyaye su.

Bach ya fara hadawa a makara. Ayyukan farko da aka sani da mu an rubuta su ne a kusan shekaru ashirin; babu shakka cewa gwaninta na aiki mai amfani, da kansa ya sami ilimin ilimin ka'idar ya yi babban aiki, tun da yake a farkon abubuwan Bach na iya jin amincewar rubuce-rubuce, ƙarfin zuciya na tunani da bincike mai ƙirƙira. Hanyar wadata ba ta da tsawo. Ga Bach a matsayin organist, ya zo na farko a fagen kiɗan gabobin, wato, a lokacin Weimar. Amma hazakar mawakin ya kasance cikakke kuma a bayyane a cikin Leipzig.

Bach ya biya kusan daidai da kulawa ga duk nau'ikan kiɗan. Tare da juriya mai ban mamaki da son ingantawa, ya cimma kowane abun da ke ciki daban da tsaftataccen salo na crystalline, daidaituwar al'ada na duk abubuwan gabaɗaya.

Bai gaji da sake yin aiki da “gyara” abin da ya rubuta ba, ko girma ko sikelin aikin bai hana shi ba. Don haka, rubutun littafin The Well-Tempered Clavier ya kwafi sau huɗu. Sha'awar a cewar Yahaya ya sami sauye-sauye masu yawa; sigar farko na "Passion bisa ga Yahaya" yana nufin 1724, da kuma na ƙarshe - zuwa shekarun ƙarshe na rayuwarsa. Yawancin abubuwan da Bach ya yi an bita kuma an gyara su sau da yawa.

Babban mai kirkire-kirkire kuma wanda ya kafa sabbin nau'ikan sabbin nau'ikan, Bach bai taba rubuta wasan kwaikwayo ba kuma bai ma yi yunkurin yin hakan ba. Duk da haka, Bach ya aiwatar da salon wasan kwaikwayo mai ban mamaki a cikin fa'ida kuma mai ma'ana. Za'a iya samun samfurin ɗaukaka na Bach, mai ban tausayi ko jigogi na jaruntaka a cikin wasan kwaikwayo na wasan kwaikwayo na ban mamaki, a cikin ƙwararrun opera lamentos, a cikin fitattun jaruman gidan wasan opera na Faransa.

A cikin waƙoƙin murya, Bach kyauta yana amfani da kowane nau'ikan waƙoƙin solo waɗanda aka haɓaka ta hanyar aikin opera, nau'ikan aria daban-daban, masu karantawa. Ba ya guje wa tarin murya, yana gabatar da hanya mai ban sha'awa na wasan kwaikwayo, wato, gasar tsakanin muryar solo da kayan aiki.

A wasu ayyuka, irin su, alal misali, a cikin The St. Matthew Passion , ainihin ka'idodin wasan kwaikwayo na wasan kwaikwayo (haɗin tsakanin kiɗa da wasan kwaikwayo, ci gaba da ci gaba da kiɗa da ban mamaki) sun kasance a cikin kullun fiye da na opera na Italiyanci ta Bach. . Fiye da sau ɗaya Bach ya saurari zargi game da wasan kwaikwayo na abubuwan haɗin gwiwar al'ada.

Babu labarun bishara na al'ada ko rubutun ruhaniya da aka saita zuwa kiɗan Bach daga irin wannan "zargin". Fassarar Hotunan da aka saba sun sabawa a fili da dokokin ikkilisiya, kuma abun ciki da yanayin kiɗan na zamani sun keta ra'ayi game da manufa da manufar kiɗa a cikin coci.

Muhimmancin tunani, iyawar zurfin ilimin falsafa na abubuwan al'amuran rayuwa, ikon tattara abubuwa masu rikitarwa a cikin hotuna masu kida da aka matsa sun bayyana kansu tare da sabon ƙarfi a cikin kiɗan Bach. Wadannan kaddarorin sun ƙaddara buƙatar ci gaba na dogon lokaci na ra'ayin kiɗa, ya haifar da sha'awar daidaito da cikakken bayanin abubuwan da ba su da kyau na hoton kiɗan.

Bach ya sami ka'idodin gaba ɗaya da na dabi'a na motsi na tunanin kiɗa, ya nuna daidaituwar ci gaban hoton kiɗan. Shi ne wanda ya fara ganowa da kuma amfani da mafi mahimmancin kadarorin waƙar polyphonic: kuzari da dabaru na aiwatar da shimfidar layukan waƙoƙi.

Rubutun Bach sun cika da siffa ta musamman. Ci gaban symphonic na ciki yana haɗa adadin da aka kammala na ƙaramar taro na B zuwa cikin jituwa gaba ɗaya, yana ba da manufa ga motsi a cikin ƙananan fugues na Clavier mai zafin rai.

Bach ya kasance ba kawai babban mai yin magana ba, har ma ya kasance fitaccen mai jituwa. Ba abin mamaki ba ne Beethoven ya ɗauki Bach uban jituwa. Akwai adadi mai yawa na ayyukan Bach waɗanda ɗakunan ajiya na homophonic suka mamaye, inda kusan ba a taɓa amfani da sifofi da hanyoyin polyphony ba. Abin mamaki wani lokacin a cikin su shine ƙarfin hali na jerin jita-jita, waccan fayyace na musamman na jituwa, waɗanda ake ɗauka azaman mai nisa tsammanin tunanin jituwa na mawaƙa na ƙarni na XNUMX. Ko da a cikin gine-ginen polyphonic kawai na Bach, layinsu baya tsoma baki tare da jin cikar jituwa.

Hankalin yanayin maɓalli, na haɗin tonal shima sabo ne ga lokacin Bach. Ladotonal ci gaban, ladotonal motsi ne daya daga cikin mafi muhimmanci dalilai da kuma tushen da nau'i na da yawa daga cikin Bach ta qagaggun. Abubuwan haɗin tonal da haɗin kai da aka samo sun zama tsammanin irin wannan tsari a cikin nau'ikan sonata na litattafan Viennese.

Amma duk da mahimmancin mahimmancin ganowa a fagen haɗin kai, zurfin ji da sanin makamar kiɗa da haɗin gwiwarsa, ainihin tunanin mawaƙi shine nau'in sautin ringi, hotunan kiɗan nasa sun samo asali ne daga abubuwan da ake kira polyphony. Rimsky-Korsakov ya rubuta cewa: "Babban harshe shine yaren wakoki na ƙwararren mawaki."

Ga Bach, polyphony ba kawai hanyar bayyana tunanin kiɗa ba: Bach mawaƙi ne na gaskiya na polyphony, mawaƙin mawaƙi ne cikakke kuma na musamman cewa farfaɗowar wannan salon yana yiwuwa ne kawai a cikin yanayi daban-daban kuma akan wani tushe daban-daban.

Bach's polyphony shine, da farko, waƙar waƙa, motsinsa, haɓakarsa, ita ce rayuwa mai zaman kanta ta kowace muryar kiɗa da haɗar muryoyin da yawa a cikin masana'anta mai motsi mai motsi, wanda aka ƙaddara matsayin murya ɗaya ta wurin matsayi. wani. Serov ya rubuta, "... Salon polyphonal, tare da ikon daidaitawa, yana buƙatar babban gwanin waƙa a cikin mawaki. Haɗuwa kaɗai, wato, haɗaɗɗen haɗe-haɗe, ba shi yiwuwa a kawar da shi a nan. Wajibi ne kowace murya ta tafi da kanta kuma tana da ban sha'awa a cikin tsarin waƙoƙin sa. Kuma daga wannan gefen, wanda ba a saba gani ba a fagen kerawa na kiɗa, babu wani ɗan wasa ba kawai daidai da Johann Sebastian Bach ba, har ma da ɗan dacewa da wadatar sa. Idan muka fahimci kalmar "waƙar waƙa" ba a cikin ma'anar opera na Italiyanci baƙi ba, amma a cikin ma'anar gaskiya na mai zaman kanta, motsi na magana na kiɗa a cikin kowace murya, motsi ko da yaushe zurfin shayari da ma'ana mai zurfi, to, babu wani melodist a ciki. duniya mafi girma fiye da Bach.

V. Galatskaya

• Bach's organ art →
• Bach's clavier art →
• Clavier mai tsananin zafin Bach →
• Ayyukan muryar Bach →
• Son Baha →
• Cantata Baha →
• Bach's Violin Art →
• Ƙirƙirar Rukunin-kayan aikin Bach →
• Prelude da Fugue ta Bach →