Photos 1: Bach Album
Hoffman reconstruction of original keydesk of the 1703 Wender organ of the Bach Church in Arnstadt, accurately detailed to exact original measurements as J.S. Bach knew it and as it operates the instrument today
Original keys and drawknobs of 1703 Wender keydesk in Bach museum at Arnstadt, manual compass 8-foot CCDD-c3d3, (48 notes), pedal compass CCDD-c1d1, 25 notes
Bach Arnstadt memory plate with message in German script which reads "Johann Sebastian Bach started working his first Organist's position from 1703-1707 in this house of God"
Opening page of Ringk's copy of d minor Toccata & Fugue for organ BWV 565 (top staff soprano clef) by J.S. Bach
Opening page of Eb Major Prelude BWV 552 from Clavieruebung Part III (top staff treble clef) by J.S. Bach
1746 Hausmann portrait of J.S. Bach holding his triple canon for 6 voices, presented to Mizler Musical Society of Leipzig when he became its 14th member, known to be authentic
Bach's 13th canon (canon triplex in 6 voices, as shown in Hausmann portrait) deciphered, showing 3 separate 2-voice canons, each in inverse movement, perpetually repeating.
Painting promoted as a "portrait of J.S. Bach" c. 1747 by French painter Antoine Pesne seriously at variance with both Haussmann portraits and considered inauthentic
Volbach portrait c. 1750, painted during J.S. Bach's final weeks or months when subject was in pain and blinded by Taylor's operations, considered authentic
1908 statue of J.S. Bach by Leipzig sculptor Carl Seffner standing in the courtyard of St. Thomas Church, Leipzig
2008 digital computer reproduction of J.S. Bach's face based upon a bronze cast of his skull, considered the most authentic that can be forensically reconstructed
Johann Sebastian Bach (1685-1750) is a much with us today as Michelangelo, Shakespeare, Newton, Galileo, da Vinci, Beethoven, Einstein, and other giants from the past. His surname among musicians is a colossal syllable, one which makes composers tremble, brings performers to their knees, and has become synonymous at once with a synthesis of styles and a radiation of influence. Everything that happened in music before him seems to have merely led up to him, and everything in music that happened after him can be traced in some way back to him. Every musician of today must be his disciple, and his Organ compositions still form the kernel of the repertoire indeed to this very day.
Bach is with us, and will always be with us, for much the same reason as the Bible is with us and will always be with us; he's a ground and an anchor in an ever-shifting world, an architect in musical sound as fundamental as Newtonian physics, superceded by but forming the basis of all subsequent progress in his domain. Genius as big as Bach's eludes explanation, and his vast musical world, while not always speaking our mental language, nevertheless rises to a level of insight and meaning that awes and which has very few peers, and no palpable superiors, in the creative arts. It's no stretch to say that if all the music ever written except for Bach's would somehow be lost forever, music would still survive.
Praeludium, Chorale, and Fugue in d minor for Organ Op. 10 from Eight Pieces for Organ Op. 10-17 is an extended tripartite work composed to honor Bach. This music incorporates the multi-sectional style of the 17th century North German "stylus phantasticus" Baroque organ toccata in the Praeludium. The 4-voice Fugue is written in quadruple counterpoint with 3 countersubjects. Bach's 4-note melodic signature Bb-A-C-B is deliberately worked into the counterpoint in all 3 parts of this piece which are all constructed upon the same melodic motif. This lends a very strong sense of unity to the entire work. The central Chorale also has been made available separately as Chorale in d minor for Organ Op. 9. It is scored in keyboard style for hands only and is playable on a one-manual organ with no pedals, a harmonium, or piano.