Bach was borne at Eisenach, Thuringia, on 21 March, 1685, the youngest child of Johann Ambrosius Bach and Elisabeth Lämmerhirt. J.A. Bach was a string player, employed by the towne council and the ducal court of Eisenach. Johann Sebastian started school in 1692 or 1693 and did well despite frequent absences. Very little is known of his musical background at this time. Nevertheless, it can be assumed that he was taught the rudiments of string playing from his father. Further, he definitely attended the Georgenkirche, where Johann Christoph Bach was organist until 1703.

By 1695 Johann Sebastian was looked after by his eldest brother, also named Johann Christoph (1671-1721), organist at Ohrdruf; for bothe of his parents had died. Johann Sebastian received his first formal keyboard lessons from his eldest brother who was a student of Johann Pachelbel. The young Bach continued to thrive in school up until the year 1700. It was in that year that his voice secured him a position in a select choir of poor boys at the school at the Michælskirche, Lüneburg.

Soon after, his voice broke. Nevertheless, he remained at Lüneburg making himself generally useful. He spent most of his time studying in the extensive as well as up-to-date library of the Michælskirche. During his time in Lüneburg, he left to Hamburg to observe the renowned organist and composer Johann Adam Reinken at the Katharinenkirche, contriving also to hear the French orchestra maintained by the Duke of Celle.

It appears that he returned to Thuringia in 1702, for he applied for the posit of organist at Sangerhausen. He was an extremely proficient organist, and if not for ducal intervention, he would have achieved the post. It became apparent in his studies at Lüneburg, that Johann Sebastian was turning away from his immediate family's style of secular string playing to become a performer bothe of works of keyboard and the sacred sort. By 04 March, 1703, he secured a post in an orchestra employed by Johann Ernst, Herzog von Weimar. He was employed as court organist in Weimar, temporarily, though. He was more interested in an organ being built at the Neukirche, Arnstadt. During the year of 1703, at the age of eighteen, he was indeed appointed to the post of organist at Neukirche.

Johann Sebastian remained at Arnstadt until 1707, where he focused on keyboard instruments, though, mostly upon the organ. While at the Lüneburg he had no opportunity of becoming familiar with the flamboyant and spectacular compositions by Dietrich Buxtehude, the most significant exponent of the north German school of organ music. In October 1705, he apparently wished to correct this imperfection, and so determined, he decided to walk to Lübeck, a distance of over three hundred kilometers. He returned to Arnstadt during January of the following year.

Upon his return, many complaints arose about his methods. For instance, he had harmonized the hymn tunes so freely that the congregation could not sing to his accompaniment. Further, he had not composed any cantatas. This was due to his focus on the organ and he was on poor terms with the singers and instrumentalists whom were not under his control and did not come up to his standards. In the summer of 1705, Bach made some offensive remarks about a bassoon player. This led to a scuffle in the streets. Nevertheless, in light of his actions and the many complaints, Bach was not dismissed. For, his employers were well aware of his talents and abilities and dreaded his loss.

During his early years, Bach learned the musical culture of the Thurngia area, a thorough familiarity with the traditional forms and hymns (chorales) of the Orthodox Lutheran service, and, in keyboard music, he inherited from his brother a bias to the formalistic style of the south. Nevertheless, he learned the northern rhapsodic quality from Buxtehude. On his own he had died extensively. He learned some French organ and instrumental music from his excursions to Celle.

In June 1707, Bach obtained a post at the Blasiuskirche in Mühlhausen in Thuringia. Soon after, he moved there and on 17 October, 1707, he married his cousin, Maria Barbara Bach, at Dornheim. Things at Mühlhausen went more smoothly for him. This time he actually did compose several cantatas. His famous composition, written in the northern rhapsodic style, Toccata en Fugue in D Major, was written at this time. While at Mühlhausen, Bach copied music to enlarge its library, he encouraged music in the surrounding villages, and was in sufficient favour of his employers to rebuild the organ. He himself said that his plans for a "well-regulated [concerted] church music" had been hindered by conditions at Mühlhausen and an inadequate salary. Bach resigned from his post and sought employment in Weimar. Nevertheless, he remained in good standing with the Mühlhausen personalities. He supervised the rebuilding of the organ. It is supposed that he inaugurated it on 31 October, 1709.

At Weimar, his post, from the outset, was court organist. Wilhelm Ernst encouraged Bach to concentrate on the organ during his tenure. Late in 1713, Bach had an opportunity to succeed Friedrich Wilhelm Zachow at Liebfrauenkirche; however, the Herzog raised his salary, and he decided to remain. He climbed the orchestral ranks at Weimar to become, on 02 March, 1714, concertmaster, with the duty of composing a new cantata each month. From the cantatas dating from the period of 1714-1716, it becomes apparent that Bach has now become newly influenced by such Italian composers as Antonio Vivaldi.

On 01 December, 1716, Johann Samuel Drese, musical director at Weimar, died. He was succeeded by his son, a musical inadequate. Bach resented being overlooked for the position. In due course, he accepted, in 1717, the post of musical director to Prince Leopold of Köthen. Herzog Wilhelm refused to accept Bach's resignation; and when he emboldened to leave for Köthen, he was imprisoned for the term of one month. After his imprisonment, he left for Köthen.

In Köthen, as musical director, he concerned himself, mainly, with chamber and orchestral music. It was during this period in his life that Bach composed his famous Brandenburg Concertos. These concertos were completed by 24 March, 1721.

Maria Barbara Bach unexpectedly died and was buried on 07 July, 1720. Bach, a tad unsettled, traveled to Hamburg. There he made inquiries about a post at the Jacobikirche. It was to no avail. Regardless, he performed at the Katharinenkirce in the presence of Reinken. After hearing Bach improvise variations on a chorale tune, the old man said, "I thought this art was dead; but I see it still lives in you."

On 03 December, 1721, Bach took a second wife, Anna Magdalena Wilcken, daughter of a trumpeter at Weissenfels. Aside from his time spent with his previous wife, these four years were the happiest times of Bach's existence. He was on his best terms with the genuinely, musically-inclined prince. Bach had expected to end his term with the prince in 1721. However, the prince had taken a wife 11 December, 1721, and conditions deteriorated. The new Princess demanded much of her husband's attention. This caused Bach to feel neglected. Further, he had to consider the instruction of his elder son, borne 1710. In 1714, he strongly considered Leipzig. On 05 June, 1722, with the death of Johann Kuhnau, the post of cantorate fell vacant. The employers never considered Bach for the position; however, with little response from their prospects, they allowed Bach an audition. He won the post on 23 February, 1723. Bach was so deeply committed to Leipzig, that although the Princess had died on 04 April, 1723, he applied for permission to leave Köthen. This he obtained on 13 April, and on 13 May he was sworn in at Leipzig. He was appointed honorary musical director at Köthen. There, bothe he and his wife were sporadically employed until the Prince died, on 19 November, 1728.

As Director of the Church Music for the city of Leipzig, Bach had to supply performers for four churches. In addition to his responsibilities as musical director, Bach also had various nonmusical duties to which to attend. He resented these duties and, more often than not, absented himself without leave. Often times he examined organs or took his son Friedmann to listen to the "pretty tunes," as he called them, at the Dresden opera. Further, he fulfilled his duties for the honorary court posts that he contrived to hold for the rest of his life.

His years at Leipzig became increasingly difficult. First off, he felt that his salary left much to be desired. Further, he met ranks with a few officials that were content in thwarting his efforts to supply competent musicians for the churches. They did so by suggesting that "musically-impaired" students be admitted to the University of Leipzig's music program. Further, in 1734, Johann August Ernesti succeeded Gesner as rector. He had novel notions about education--music was not a part. More scandal flared up in 1736; it then took the form of a dispute over Bach's right to appoint prefects and became a public scandal. Fortunately for Bach, he became court composer to the Elector of Saxony in November 1736. In 1738, Bach used his influence in the court to induce a bout of inquiries, and his dispute with Ernesti was settled. Bach was able to do as he pleased.

Little is known about Bach's final illness, except that it lasted for several months and prevented the completion of The Art of Fugue. His constitution was not ameliorated, but rather, hindered by two eye operations performed by John Taylor, the itinerant English quack who numbered Handel among his other failures. He died on 28 July, 1750, at Leipzig. His employers were eager to appoint a successor, Burgonmaster Siteglitz. He remarked, "The school needs a canto, not a musical director--though certainly he ought to understand music." Anna Magdalena was left badly off. Her stepsons did nothing to ameliorate her position, and her sons were too young to do anything. She died on 27 February, 1760, and was given a pauper's funeral.
 

Vocal Music (sacred)
 

MASSES: Mass in B Minor, BWV 232 (1724-1746); Four Lutheran masses (i.e., containing only settings of the Kyrie and the Gloria).
 

ORATORIOS: Christmas Oratorio, BWV 248 (1734); Easter Oratorio (Kommt, eilet und laufet, BWV 249; 1725); Ascension Oratorio (1735).
 

PASSIONS: Passion According to St. John, BWV 245 (1724); Passion According to St. Matthew, BWV 244 (1729).
 

CANTATAS: Roughly two hundred for different Sundays in the church year (1707--after 1735; mainly 1714-1716, 1723-1727), mostly for soloist(s), chorus, and orchestra.
 

OTHER WORKS: Magnificat in D Major, BWV 243; seven motets; two Sanctus settings (three others based on works by other composers); one hundred eighty-six independent chorale harmonisations.
 

Vocal Music (secular)
 

CANTATAS: Twenty-four, mostly for soloists, chorus, and orchestra--all on German texts, except two Italian. They include the Coffee Cantata (Schweigt stille, plaudert nicht, BWV 211; c. 1732) and the Peasant Cantata (Mer hahn en neue Oberkeet, BWV 212; 1742).
 

OTHER WORKS: Five Songs for voice and continuo and one quodlibet for four voices and continuo.
 

Orchestral Music
 

CONCERTOS: Six Brandenburg Concertos (pre-1721); two concertos for violin and orchestra and one for two violins (1717-1723); seven for one harpsichord, three for two harpsichords, two for three and one for four harpsichords; one concerto for harpsichord, flute, and violin.
 

OTHER WORKS: Four overtures (suites); Sinfonia in D Major (incomplete).
 

Chamber Music
 

SONATAS: Two for violin and continuo; two for flute and continuo; one for two flutes and harpsichord; two for flute, violin, and continuo; three for harpsichord and flute; three for harpsichord and viola da gamba; six for harpsichord and violin.
 

OTHER

WORKS: Das Musikalisches Opfer (1747) for strings, flute, and continuo; six unaccompanied sonatas (partitas) for violin (c. 1720)six unaccompanied suites (sonatas) for cello (c. 1720).
 

Organ Music
 

CHORALE

PRELUDES: One hundred forty chorale preludes including the Orgelbüchlein (mainly 1714-1716); Clavierübung, vol. 3 (1739), and Schübler Chorale Preludes (1746 or later).
 

FUGUES: Eighteen preludes and fugues (1708-1717, 1729-1739), including the St. Anne in E flat major and the Wedge in E minor; five toccatas and fugues (1700-1717), including the Dorian in D minor; thee fantasies and fugues; four other fugues.
 

OTHER

WORKS: Variations on the chorale Vom Himmel hoch (1747); Passacaglia in C Minor, BWV 582 (1708-1717); four concertos; seven fantasies; four preludes; six sonatas (trios); three trios.
 

Harpsichord Music
 

COLLECTIONS: Clavierübung: vol. 1 (1726-1731), six partitas; vol. 2 (1735), French Overture in B Minor and Concerto in the Italian Style; vol. 3 (1739) is organ music withe four "duets" for harpsichord; and vol. 4 (1742), Goldberg Variations; The Well-Tempered Clavier, 2 vol. (1722 and 1742), containing forty-eight preludes and fugues, one in each key in each book; Clavierbüchlein (1720), for Wilhelm Friedemann Bach, containing fifteen two-part and fifteen three-part inventions, twenty preludes, two chorale preludes, two allemandes, four minuets, a fugue, and an "applicatio"; Clavierbüchlein (1722) and Notenbuch (1725), bothe for Anna Magdalena Bach, containing marches, minuets, a musette, polonaises, c. & c.; six French Suites and six English Suites.
 

OTHER WORKS: Aria variata in A minor; two capriccios, Chromatic Fantasy and Fugue; five fantasies, two withe fugues; twelve Little Preludes; four preludes and six for beginners; four preludes and fughettas; three preludes and fugues; two sonatas; four miscellaneous suites; seven toccatas and arrangements.
 

For Unspecified Instrument(s)
 

Die Kunst der Fuge (1749); sixteen fugues and four cannons.