The Greatest Composer of All Time

In 2019, BBC Music Magazine named Johann Sebastian Bach as the greatest composer of all time. The magazine asked 174 current composers to vote for their favourites, of which Bach came out on top. Igor Stravinsky (1882-1971) followed second, Ludwig van Beethoven (1770-1827) third, Wolfgang Amadeus Mozart (1756-91) fourth, and Claude Debussy (1862-1918) a respectable fifth. Why does Bach stand head and shoulders above all the other composers that have been and gone throughout history? He came from a family that produced over 50 musicians in 200 years, yet J.S. Bach surpassed them all to become the nation’s favourite.

Johann Sebastian Bach (aged 61) – Elias Gottlob Haussmann

Johann Sebastian Bach was born on 31st March 1685 in Eisenach in the duchy of Saxe-Eisenach, Germany. He was the eighth and youngest child of Johann Ambrosius Bach (1645-95), the town musical director, and Maria Elisabeth Lämmerhirt (1644-94). Bach’s father taught him to play the violin from a young age, and his uncle, Johann Christoph Bach (1645-93), taught the young boy how to play the organ. Bach had several uncles and cousins who played various instruments and worked as organists or composers, all of whom had a great impact on Bach’s childhood. Sadly, his parents died when Bach was ten years old, leaving his older brother Johann Christoph (1671-1721) as his guardian.

Johann Christoph worked as the organist at St. Michael’s Church in Ohrdruf, where he also taught Bach everything he needed to know about the instrument. His brother also gave him lessons on the clavichord and introduced Bach to some of the top composers of the day, including Johann Christoph’s former tutor, Johann Pachelbel (1653-1706).

Whilst living with his brother in Ohrdruf, Bach attended a local school where he studied theology, Latin, Greek, French, and Italian. In 1700, Bach enrolled at St. Michael’s School in Lüneburg, which extended his music knowledge as well as providing a prestigious academic education. Bach joined the school choir and took organ and harpsichord lessons from Georg Böhm (1661-1733), a German Baroque organist and composer at the local church.


After graduating from St Michael’s School in 1703, Bach found a position as a court musician in the chapel of Duke Johann Ernst III (1664-1707) in Weimar. Still in his teens, Bach used the opportunity to develop his reputation as an organist. After seven months, rumours of his skill spread to neighbouring towns, including Arnstadt, located 19 miles from Weimar. A new protestant church in Arnstadt invited Bach to inspect their organ and give a harpsichord recital to mark the opening of the building. In August 1703, Bach became the official organist at the church, which until 1935 was known as New Church. Today, it is called Johann-Sebastian-Bach-Kirche because of its association with the composer.

As the church organist, Bach worked with other musicians and a choir. After a couple of years in the post, Bach grew from a teenager into a self-important man who was not afraid to raise his opinion. Bach disliked the singing standard of the choir and, on one occasion, described one member as a “Zippel Fagottist” (weenie bassoon player). The man retaliated by attacking Bach with a stick and, although Bach complained, the man was not reprimanded. Instead, the authorities advised Bach to lower his expectations of the choir.

Bach continued to assert his self-appointed authority on those who he deemed beneath him, including his employer. In 1705, Bach requested four weeks leave to visit the Baroque composer and organist Dieterich Buxtehude (1637-1707) in the city of Lübeck. This involved a 280 miles journey, which Bach mostly travelled on foot over several days. Bach failed to return after his allotted four weeks, returning after four months instead. The 21-year-old organist most likely lost his job as a result.

Portrait of the young Bach (disputed)

In 1706, Bach started working as the organist at Divi Blasii, a Gothic church in Mühlhausen. Bach received a higher salary and was no doubt pleased with the better quality of the choir. He also convinced the church to renovate the organ, a task that needed much fundraising. After four months in his new job, Bach married his 23-year-old second cousin, Maria Barbara Bach (1684-1720).

Whilst working in Mühlhausen, Bach composed a cantata for the inauguration of the new council held on 4th February 1708. Gott ist mein König (God is my King), consists of seven movements written for “four separate instrumental ‘choirs’, set against a vocal consort of four singers, an optional Capelle of ripienists and an organ.” The lyrics are based on Psalm 74, in which the author expresses the pleas of the Tribe of Judah in Babylonian captivity. Although Bach only intended the cantata for the festival, it became his first published work later that year. It is also Bach’s only known cantata published in his lifetime.

In 1708, Bach moved back to Weimar, where his wife gave birth to their first child, Catharina Dorothea (1708-74). Two years later, they welcomed a son, Wilhelm Friedemann (1710-84), who inherited his father’s talent. Unfortunately, Wilhelm earned very little for his future compositions and died in poverty. In 1713, Maria gave birth to twins Johann Christoph and Maria Sophia. Unfortunately, Johann died on the same day, and Maria passed away twenty days later.

Whilst in Weimar, Bach worked as an organist and composed many keyboard and orchestral works. Bach later compiled many of his preludes and fugues from this time to form The Well-Tempered Clavier. Each piece in the collection is in a different key, totalling 24 key signatures: C major, C minor, C sharp major and so on. The outcome remains one of the most important works in the history of classical music. Bach also studied Italian composers and transcribed some of Antonio Vivaldi’s (1678-1741) works for the organ and harpsichord.

In 1714, Bach welcomed another son, Carl Philipp Emanuel (1714-88), who almost surpassed Bach’s musical legacy. Haydn (1732-1809), Beethoven and Mozart admired his work greatly, particularly the latter who said, “Bach is the father, we are the children.” The same year as Carl’s birth, J.S. Bach became the Konzertmeister (director of music) at the ducal court in Weimar. His boss, Prince Johann Ernst of Saxe-Weimar (1696-1715), required Bach to compose one cantata each month for the court chapel service. Bach also transcribed many of Prince Johann Ernst’s violin concertos for the harpsichord and organ.

Bach’s sixth child, Johann Gottfried Bernhard (1715-39), was born in 1715, the same year that Prince Johann Ernst passed away. Bach continued working as Konzertmeister but soon fell out of favour with the musicians and choir under his command. In 1717, his employers tried to dismiss Bach from his position. After stubbornly refusing to leave, Bach found himself arrested and confined to the County Judge’s place of detention for a month. On his release, he begrudgingly accepted his discharge.

Despite Bach’s unfavourable dismissal, Leopold of Anhalt-Köthen (1694-1728) hired Bach as Kapellmeister. Prince Leopold had an ear for music and recognised Bach’s talents. Unlike his previous employer, Bach had a good relationship with the prince and made him the godfather of Leopold Augustus (1718-19), who sadly died in infancy. The prince paid Bach well but disapproved of elaborate organ music in churches. As a result, most of Bach’s compositions from his time in Köthen had a secular nature. Nonetheless, Bach respected his employer’s taste, saying, “He was a gracious Prince, who both loved and knew music.”

As Kapellmeister, Bach frequently joined the prince on his travels. In 1720, while away in Carlsbad (now Karlovy Vary, Czech Republic), Bach’s wife unexpectedly died. Bach described her untimely death as the worst event in his life. Fortunately, he found love again the following year with the soprano singer Anna Magdalena Wilcke (1701-60). She also worked for the prince, and the couple married on 3rd December 1721. Anna instantly took up the role of stepmother and raised Bach’s children as though her own.

Die Leipziger Thomaskirche 1749

In 1723, Bach accepted the position of Thomaskantor (Cantor at St. Thomas). This involved moving to Leipzig to direct the Thomanerchor, a choir of boys aged 9 to 18 who attended St Thomas boarding school. Bach’s employer also expected him to teach Latin but allowed the composer to appoint others for this task. Bach was also expected to compose cantatas for Sunday services, of which he produced more than 300. The majority of the cantatas reflected the Gospel readings in the weekly lectionary.

During his first six years in Leipzig, Bach fathered six children. Due to the lack of medical care, many of Bach’s children did not survive infancy. Christiana Sophia Henrietta (1723-26), for example, died at the age of three, Christian Gottlieb (1725-28) at two, Regina Johanna (1728-33) at five, and Ernestus Andreas (1727-27) shortly after his birth. Two of the six children lived to adulthood. Gottfried Heinrich (1724-63) learned to play the keyboard well and showed the potential of “a great genius, which however failed to develop”. Writings of the time suggest Gottfried had a mental handicap of some sort and relied on his sister, Elisabeth “Liesgen” Juliana Friederica (1726-81), for all his adult life. Liesgen married one of her father’s pupils, Johann Christoph Altnickol (1720-59), who worked as an organist, composer and teacher.

In March 1729, Bach took over as director of the Collegium Musicum, a musical society that specialised in secular performances. The position, which he held for ten years, allowed Bach to broaden his repertoire, which, until then, was constricted to liturgical compositions. The extra work did not prevent Bach from his Thomaskantor duties because of Bach’s proactiveness in producing six years worth of cantatas during his first three years in Leipzig. He also continued to grow his large family, although the child mortality rate remained high. Three babies born in the 1730s did not reach childhood: Christiana Benedicta (1730-30), Christiana Dorothea (1731-32) and Johann August Abraham (1733-33).

In 1732, Bach welcomed a son who managed to survive childhood and follow in his musical footsteps. Johann Christoph Friedrich (1732-95), known as the ‘Bückeburg’ Bach to differentiate him from his father, became a concertmaster in Bückeburg, where he was also a renowned harpsichord player. The Bückeburg Bach composed hundreds of pieces for the keyboard, as well as chamber music, choral work and symphonies. Unfortunately, a lot of J.C.F. Bach’s manuscripts were destroyed during the Second World War.

Johann Christian Bach – Thomas Gainsborough

Another of Bach’s sons earned the epithet “The London Bach” because he established his reputation in England as the music master to Queen Charlotte (1744-1818). J.S. Bach was already 50 years old at Johann Christian’s (1735-82) birth and did not live to witness his son’s success. Nonetheless, J.C. Bach’s talent emerged from a young age, and his father spent a few years teaching him how to play the keyboard. Later in life, J.C. tutored the 8-year-old Mozart in composition, who often credited the “London Bach” for his success. On hearing of J.C. Bach’s death in 1782, Mozart lamented, “What a loss to the musical world!”

In 1736, J.S. Bach received the title of “Royal Court Composer” from Augustus III of Poland (1696-1763), the Elector of Saxony. At this time, Bach was working on his first publication of German Organ Mass, which he eventually published in 1739. The collection includes a triple fugue in E flat major, which is understood to represent the Trinity. “The first fugue is calm and majestic, with an absolutely uniform movement throughout; in the second the theme seems to be disguised, and is only occasionally recognisable in its true shape, as if to suggest the divine assumption of an earthly form; in the third, it is transformed into rushing semiquavers as if the Pentacostal wind were coming roaring from heaven.” (Albert Schweitzer, 1905)

Following the birth of his final two children, Johanna Carolina (1737-81) and Regina Susanna (1742-1809), Bach’s music style shifted. He adopted stile antico from the 16th century and combined it with the music of his contemporaries, for instance, George Frideric Handel (1685-1759). Handel and Bach were born in the same year, yet they never met. Bach attempted to visit Handel in 1719, but he had moved to London. Bach incorporated several of Handel’s arias into his version of the St Mark Passion, composed in 1747.

In mid-1747, Bach visited King Frederick II of Prussia (1712-86) in Potsdam, who introduced Bach to the fortepiano. This new instrument was an early version of the piano built by Gottfried Silbermann (1683-1753). Bach had come across Silbermann’s earlier constructions and criticised them heavily. Yet, the fortepiano impressed Bach and inspired him to write a collection of keyboard canons and fugues, which he published under the title The Musical Offering. Many musicologists consider this work one of the first piano compositions in history.

Although Bach continued to compose, often returning to and adapting older works, his eyesight rapidly deteriorated. He stubbornly refused to step down as Thomaskantor, but his employer made arrangements to hire another composer to start working “upon the eventual … decease of Mr Bach”. By 1750, Bach was almost completely blind due to cataracts and underwent eye surgery by the British eye surgeon John Taylor (1703-72). Unfortunately, Taylor was a charlatan and permanently blinded Bach as a result. He also blinded the composer Handel and up to 100 other victims. Sadly, Bach passed away on 28th July 1750 from complications due to the unsuccessful operation.

Not much is known about Bach’s funeral other than he was buried in an unmarked grave at Old St. John’s Cemetery in Leipzig. Yet, he did not die a poor man. An inventory drawn up at the time claims Bach owned five harpsichords, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet. Whilst his funeral remains a mystery, Bach’s life is recorded in detail in a Nekrolog (obituary) written by his son Carl and one of his students, Johann Friedrich Agricola (1720-74).

Image of the Bach memorial erected by Felix Mendelssohn in Leipzig in 1843

During his lifetime, Bach was highly regarded amongst his colleagues. Yet, those outside his social circle were not so familiar with his compositions. As a result, only a limited number of people played Bach’s music. It is thanks to Felix Mendelssohn (1809-47), who conducted a famous performance of Bach’s St Matthew Passion on 11th March 1829, that Bach is popular today. Mendelssohn later erected a monument to the composer in Leipzig. Also credited with reviving Bach’s compositions is Bristol-born Samuel Wesley (1766-1837), the son of the famous hymnodist Charles Wesley (1707-88). At the beginning of the 19th century, Wesley, sometimes known as “the English Mozart”, occasionally performed some of Bach’s organ pieces in London concerts.

In 1850, the Bach-Gesellschaft (Bach Society) was founded by Moritz Hauptmann (1792-1868), a cantor of the St. Thomas Church, Leipzig, to promote Bach’s music. Around that time, musicians referred to Bach as one of the Three Bs, a term coined in the Berliner Allgemeine Musikalische Zeitung to represent Bach, Beethoven and Hector Berlioz (1803-69). Later, a German conductor replaced Berlioz with Johannes Brahms (1833-97), saying “I believe in Bach, the Father, Beethoven, the Son, and Brahms, the Holy Ghost of music.” (Hans von Bülow, 1880) Since then, the English composer David Matthews (b.1943) has proposed adding Benjamin Britten (1913-76) to the legacy, making them the Four Bs.

Bach’s popularity continued to rise during the 20th century with the appearance of several organisations and awards in his name. Choirs and orchestras, including the Bach Aria Group, Deutsche Bachsolisten, Bachchor Stuttgart, and Bach Collegium Japan, have developed and performed various Bach Festivals around the world. Every two years, the Bach-Archiv Leipzig holds the Internationaler Bach Wettbewerb Leipzig (International Johann Sebastian Bach Competition); and the Royal Academy of Music in London awards the Royal Academy of Music Bach Prize to “an individual who has made an outstanding contribution to the performance and/or scholarly study of the music of Johann Sebastian Bach.”

So, why is Bach the nation’s favourite composer? Admittedly, it is a matter of personal taste, but Bach may come out on top due to his versatile style of compositions. Whilst Bach usually wrote for organ and other keyboard instruments, he also produced concertos for the violin and music for orchestras. Bach composed hundreds of religious works, making him popular in churches, but he also wrote secular music, which is enjoyed by people of all faiths and none. Bach wrote something for everyone, and it is this, alongside his expertise, that earns him the title “The Greatest Composer of All Time”.

Some of the compositions mentioned in this blog are available on YouTube through the following links:
Gott ist mein König (BWV 71)
The Well Tempered Clavier: Book I: Prelude and Fugue No.1 in C Major (BWV846)
German Organ Mass : Vater unser im Himmelreich (BWV683a)
Prelude in E-flat Major (BWV 552/i) – Representing the Trinity
Six-voice ricercar from The Musical Offering (BWV 1079)
Opening to St. Matthew Passion (BMW 244)

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3 thoughts on “The Greatest Composer of All Time

  1. What a fascinating insight this famous composers life. Prolific in producing children as compositions I like his stubbornness and self awareness of his own greatness. Thank you Hazel who carries her own greatness well. Well worth the price of a coffee a very entertaining and informative article.

  2. I’m feeling quite overwhelmed by all that activity in his life and amazed that he could manage to compose so much with all those children around! I’d love to know more about his two wives whose lives must have been quite difficult. (an understatement). Wonder how he managed to keep track of them and remember their names (the children I mean not the wives!). Well done Hazel for giving us such a comprehensive account of a remarkable composer.

  3. Pingback: Lady Unknown | Hazel Stainer

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