As a music scholar and organist, he studied the music of German composer Johann Sebastian Bach and influenced the Organ reform movement ( Orgelbewegung ).

In a recent book-length study, keyboardist and Bach scholar Peter Williams contends that the Forkel story is entirely spurious.

In his book The Keyboard Music of J. S. Bach the scholar and keyboardist David Schulenberg notes that the discovery " surprised twentieth-century commentators who supposed gigues were always fast and fleeting.

Among his many pupils in Dresden was Johann Gottlieb Goldberg, the keyboardist whose name is erroneously enshrined in the popular nickname given to J. S. Bach's 1742 publication, “ Aria with Diverse Variations ”— that is, “ The Goldberg Variations .” The scholar Peter Williams has discredited the story linking the work to Goldberg, stating that J. S. Bach wrote the work for the Russian Ambassador Count Hermann Carl von Keyserlingk, who would ask his employee, Goldberg, to play variations for him to ward off insomnia.

Scholars believe the Mass was not performed in its entirety until the mid-19th century ; according to Bach scholar John Butt, there is " no firm evidence of a complete performance before that of the Riedel-Verein in Leipzig in 1859 ".

The Partita in D minor for solo violin ( BWV 1004 ) by Johann Sebastian Bach was written during the period 1717 – 1723 and one scholar, Professor Helga Thoene, suggests this partita, and especially its last movement, was a tombeau, written in memory of Bach's first wife, Maria Barbara Bach ( who died in 1720 ), though this theory is controversial.

The volumes varied somewhat in editorial quality and accuracy ; Bach scholar Hans T. David particularly criticized Vol.

Bach performer and scholar Marie-Claire Alain suggested that the 21 variations are broken down into 7 groups of 3 similar variations, each opening with a quotation from a Lutheran chorale, treated similarly to the Orgel-Buchlein written at a similar time:

* 1613 – Christoph Bach, court musician, grandfather of Johann Sebastian Bach ( d. 1661 )

The best known composers from this period are Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven ; other notable names include Luigi Boccherini, Muzio Clementi, Antonio Soler, Antonio Salieri, François Joseph Gossec, Johann Stamitz, Carl Friedrich Abel, Carl Philipp Emanuel Bach, and Christoph Willibald Gluck.

* 1642 – Johann Christoph Bach, German composer ( d. 1703 )

* 1645 – Johann Christoph Bach, German musician ( d. 1693 )

Bach in Leipzig, such as Wilhelm Friedmann Bach, Carl Philipp Emmanuel Bach and Johann Friedrich Agricola, as well as those composers who performed under his direction in Leipzig ( Christoph Graupner, Johann David Heinichen and Johann Georg Pisendel ), composers of the Berlin lieder school, and finally, his numerous pupils, none of whom, however, became major composers.

* Johann Christoph Friedrich Bach, Variations on " Ah vous dirai-je Maman " in G major ( Wf XII: 2 ) ( BR A 45 ) ( 1st publ.

* December 6 – Johann Christoph Bach, German composer ( d. 1703 )

* March 31 – Johann Christoph Bach, German composer ( b. 1642 )

* June 21 – Johann Christoph Friedrich Bach, German composer ( d. 1795 )

* January 26 – Johann Christoph Friedrich Bach, German composer ( b. 1732 )

* Schmidt is also a talented pianist, and has recorded piano concertos of both Mozart and Bach with the well-known German pianist and conductor, Christoph Eschenbach.

Bruckner is greeted by ( from left to right ): Franz Liszt | Liszt, Richard Wagner | Wagner, Franz Schubert | Schubert, Robert Schumann | Schumann, Carl Maria von Weber | Weber, Wolfgang Amadeus Mozart | Mozart, Ludwig van Beethoven | Beethoven, Christoph Willibald Gluck | Gluck, Joseph Haydn | Haydn, George Frideric Handel | Handel, Johann Sebastian Bach | Bach.

Sacred cantatas for the liturgy or other occasions were not only composed by Bach but also by Dieterich Buxtehude, Christoph Graupner, Gottfried Heinrich Stölzel and Georg Philipp Telemann, to name a few.

The original score was written by George Fenton, while the soundtrack included baroque and classical works by Antonio Vivaldi, Johann Sebastian Bach, George Frideric Handel and Christoph Willibald Gluck.

** Martin Sauer ( producer ), Michael Brammann ( engineer ), Nikolaus Harnoncourt ( conductor ), Norbert Balatsch, Erwin Ortner ( chorus masters ), Bernarda Fink, Matthias Goerne, Dietrich Henschel, Elisabeth von Magnus, Christoph Prégardien, Dorothea Röschmann, Michael Schade, Christine Schäfer, Markus Schäfer, Oliver Widmer, the Arnold Schoenberg Chor, Wiener Sängerknaben & Concentus Musicas Wien for Bach: St. Matthew Passion

Composer Johann Christoph Friedrich Bach ( 1732 – 1795 ), a son of J. S.

Heinrich Schütz, c. 1650-1660 ( Leipzig ), by Christoph SpetnerHeinrich Schütz ( 8 October ( JC ), 1585 – 6 November 1672 ) was a German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach and often considered to be one of the most important composers of the 17th century along with Claudio Monteverdi.

Bach used the " widest spectrum of orchestral instruments ... in daring combinations ," as Christoph Wolff has commented.

The descendents of Friederica Sophia eventually migrated to Oklahoma .< ref > Wolff, Christoph " Descendants of Wilhelm Friedemann Bach in the United States ", < i > Bach Perspectives: Volume 5: Bach in America </ i > Stephen A. Crist, ed.

" The governing idea of the work ", as the Bach specialist Christoph Wolff put it, is " an exploration in depth of the contrapuntal possibilities inherent in a single musical subject.

The Bach Compendium is a project started in 1985 to publish critical editions of Bach's entire writing, edited by Hans-Joachim Schulze and Christoph Wolff.

" Christoph Wolff adds as a further detail of this visit by Bach to Hamburg in 1722, that on that occasion he performed the organ fugue BWV 542, the theme of which is based on a Dutch popular tune ( called ' Ik ben gegroet van …'), presumably as an homage to Reincken's Dutch origin.

* Wolff, Christoph, " Johan Sebastian Bach ; The Learned Musician " ( W. W. Norton & Co, New York, 2000 )

Christoph Wolff ( born May 24, 1940 ) is a German-born musicologist, who is best known for his works on the music, life, and times of Johann Sebastian Bach.

Christoph Wolff has been on the faculty of Harvard University since 1976 and director of the Bach Archive in Leipzig since 2001.

Johann Sebastian Bach was organist of the church Divi Blasii from 1707-1708 .< ref name =" test "> Christoph Wolff, et al.

* Wolff, Christoph ( 2002 ) Johann Sebastian Bach: The Learned Musician.

According to Christoph Wolff, Bach may have written the cantata shortly before 1730 for an unknown performance, before he used it for the 15th Sunday after Trinity on 17 September 1730.

* " Classical Rap " – This parody by Peter Schickele, on his album P. D. Q. Bach: Oedipus Tex & Other Choral Calamities, describes the travails of living on the Upper West Side, as a Yuppie chants hip-hop lyrics to a classical instrumental background.

Schickele describes P. D. Q. Bach as having " the originality of Johann Christian, the arrogance of Carl Philipp Emanuel, and the obscurity of Johann Christoph Friedrich.

The latter may have met him ; a well-known apocryphal anecdote describes how Reincken and Bach met, and how, after Bach improvised a lengthy fantasia on the Lutheran chorale An Wasserflüssen Babylon ( paying homage to Reincken's massive fantasia on the same chorale ), Reincken remarked: " I thought that this art was dead, but I see that it lives in you.

J. S. Bach and Weiss were said to have competed in improvisation, as the following account by Johann Friedrich Reichardt describes:

St. Matthew describes the tearing of the Temple curtain and an earthquake – set to music by Bach.

Author and retired USAF pilot Richard Bach describes such an attack in his book Stranger to the Ground:

Klaus Hofmann describes the movement as an " operatic scene " and continues " Bach resorts to unconventional means ; he shows himself as a musical dramatist and, in the process, stresses the element of contrast: he comments upon the words of the faithful with agitated, tumultuous string figures, whilst Jesus ' peace greeting sounds calmly and majestically, embedded in pastoral wind sonorities.

John Eliot Gardiner describes the first section as a " tombeau, one of the most impressive and deeply affecting cantata movements Bach can have composed to that point ".