Bach House Eisenach

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Bach House Eisenach
Eisenach Frauenplan Bachhaus.jpg
Bachhaus Eisenach, 2015
place Eisenach
Museum, memorial
architect Berthold H. Penkhues (new building, 2007)
opening 1907
Number of visitors (annually) 60,000
Jörg Hansen
ISIL DE-MUS-868019

The Bachhaus Eisenach is a museum in Eisenach , Thuringia , which is dedicated to the composer Johann Sebastian Bach who was born there . Approx. 250 original exhibits, including an autograph Bach sheet music , are shown in it on 600 m² of exhibition space . The core of the museum, which today comprises several buildings, is an approximately 550-year-old half-timbered house (Frauenplan No. 21), which was incorrectly identified as Bach's birthplace in the mid-19th century. In 1907 the Leipziger Neue Bachgesellschaft established it as a memorial and Bach museum.

Historical basis

House Rittergasse No. 11 (front: Bachhaus garden)
Today's house Lutherstrasse No. 35 (dark gray)

The Bach family of musicians was a widely ramified family of musicians in Central Germany from the first half of the 16th century to the end of the 18th century. Johann Christoph Bach was the organist of the Georgenkirche in Eisenach as early as 1665 .

Bach's father, Johann Ambrosius Bach , took a job as Haußmann (head of the council musicians ) in Eisenach in 1671 , the family initially rented a half-timbered house at 11 Rittergasse, directly south of today's museum garden, from the forestry director Balthasar Schneider. Since only landowners could acquire citizenship , Johann Ambrosius Bach bought a house in the Fleischgaß in 1674 (today probably: Lutherstrasse No. 35), this was 100 meters north of the present museum and is no longer preserved. Because not all of Eisenach's citizens lived in exactly the houses they had acquired for the purpose of acquiring citizenship, the location of the actual birthplace and childhood home of Bach can no longer be determined with certainty. Due to the location of Ambrosius Bach's first apartment in Rittergasse and the property purchased in Lutherstraße, Bach's birthplace can be assumed to be in this area and thus at least near today's Bachhaus.

The on March 21st jul. / March 31, 1685 greg. born Johann Sebastian Bach spent the first ten years of his life in Eisenach. He was introduced to music at an early age through the musical tradition of the Bach family; his father may have taught him to play string and wind instruments. The young Johann Sebastian got to know one of his later favorite instruments, the organ , from his great cousin Johann Christoph Bach in the town church of St. Georg . From 1692 to 1695 Johann Sebastian attended the local Latin school and received his first music lessons four days a week as a member of the Chorus musicus . Bach's mother Elisabeth Bach died on May 1, 1694 , and Bach's father Ambrosius also died on February 20, 1695. Johann Sebastian and his brother Johann Jakob were admitted to their older brother Johann Christoph in Ohrdruf in July 1695 .

History of the Bach House

Relic of a historical error: memorial plaque at the Bachhaus in Eisenach
Opening on May 27, 1907
Bachhaus on April 6, 1945
Reopening on May 17, 2007
The St. Thomas Choir sang in the new foyer on May 17th, 2007

1456 to 1800

The historic Bachhaus is one of the two oldest surviving houses in Eisenach. It originally consisted of two buildings, of which the eastern part of the house was built in 1456 and the western part in 1458; around 1611 both parts of the current house were connected. At the time of Bach's birth in 1685, the house was owned by the Rector of the Latin School Heinrich Börstelmann, who did not live in it himself, but rented it out. Between 1746 and 1779 the family of Caroline Amalie Rausch nee lived in the Bachhaus. Bach, the daughter of Bach's great-grandcousin and friend Johann Bernhard Bach and the sister of the Eisenach court conductor and Bach student Johann Ernst Bach . As is customary in arable houses , the ground floor was originally used for agricultural purposes as a part-time job: today's instrument room may have served as a barn, today's baroque garden behind the house as a vegetable garden and cattle pasture. A cowbell from 1688, found in the Bachhaus garden, reminds of this agricultural use in the museum today. An exposed window from the construction period and already partially glazed at the time and the plank room, now set up as a Componir room and insulated with wooden planks under the plaster, demonstrate the earlier residential use of the Upper floor by a wealthy middle class .

1800 to 1900

With the u. a. Bach renaissance initiated by Felix Mendelssohn and Robert Schumann began a search for biographical evidence and also for the composer's birthplace. In 1857, the Bach biographer Karl Hermann Bitter asked the descendants of Johann Bernhard Bach who were still living in Eisenach and, based on the information received, decided that Frauenplan No. 21 would be the house where they were born. Since 1868 a memorial plaque attached to the house by the Eisenacher Musikverein with the inscription Johann Sebastian Bach was born in this house on March 21, 1685 shows the house publicly as the birthplace of Johann Sebastian Bach. However, there is no further evidence of this to date. The error in the oral tradition was possibly due to the fact that members of the Eisenach Bach family moved into the house in the middle of the 18th century.

1900 to 2000

The Leipziger Neue Bachgesellschaft, founded in 1900, originally intended to set up the first Bach Museum in the Leipzig Thomas School , in which Johann Sebastian Bach lived and worked with his family from 1723 until his death in 1750 as Thomaskantor . However, this was torn down in 1902 against the protest of the Bach Society by the city ​​of Leipzig . The entrance door to Johann Sebastian Bach's apartment in the Thomas School was saved from destruction by the music teacher of the Thomas School Bernhard Friedrich Richter, son of the former Thomas cantor Ernst Friedrich Richter , with a few other memorabilia and handed over to him after the Eisenach Bach Museum opened. Since the museum reopened in 2007, this door marks the entrance to the exhibition.

With a contract dated May 15, 1905, the Leipziger Neue Bachgesellschaft acquired the Frauenplan No. 21 house, which was also threatened with demolition, in order to open the world's first Bach museum in Johann Sebastian Bach's supposed birthplace. The purchase was supported by numerous sponsors. Among them were the Weimar Grand Duke, the composer and violinist Joseph Joachim , the Thomaskantor Gustav Schreck , the director of the Sing-Akademie zu Berlin Georg Schumann and the Leipzig music publishers Breitkopf & Härtel and CF Peters . The museum was officially opened on May 27, 1907. At the opening, the Leipzig Thomanerchor under Thomas Cantor Gustav Schreck, the Grand Ducal Court Orchestra in Weimar under Georg Schumann, Joseph Joachim and the pianist Ernst von Dohnányi gave concerts .

When the Eisenacher hobby historian Fritz Rollberg discovered in his research in tax receipts in 1928 that Ambrosius Bach had purchased another home in Eisenach in 1674 and this until his death paid 1695 taxes, which was Bach house long known as the world's Bach Memorial established. During the restoration of the house in 1972–1973, the memorial plaque on the house was stored in the museum archive; when the house was restored in early 2007, it returned to its original location. The historical error is pointed out today in the museum by the exhibition of one of the tax files found by Rollberg in 1928.

An air raid on November 23, 1944 and the artillery bombardment of the city by the approaching American troops in the night of April 5 to 6, 1945 damaged the roof structure of the building in particular. On April 29, 1945, the American city ​​commandant Lt. Col. Knut Hansston the immediate restoration of the house. A year later, on June 22, 1946, the Soviet Military Administration (SMA) ordered the Bach museums in Arnstadt and Eisenach to be reopened and confirmed Conrad Freyse, then director of the Bachhaus, in his office.

As early as 1911, the museum was extended to the adjacent building from the Wilhelminian era, Frauenplan No. 19. In 1973 the museum was completely redesigned with funds from the GDR Ministry of Culture and the GDR Culture Fund. With the renovation in 1973, the museum expanded to the western house Frauenplan No. 21a. Because it was sponsored by an all-German private association, the Bach House was not integrated into the National Research and Memorials Combine Johann Sebastian Bach founded in 1979, as was the case with the Leipzig Bach Archive , which was established in 1950 and which also included a Bach Museum from 1984 . The increasing number of visitors with at times more than 130,000 visitors a year led to the inclusion of the Frauenplan No. 23 building in the museum from 1980.

2000 until today

From 2005 to 2007 the Bachhaus was rebuilt, all buildings were restored and the permanent exhibition was completely renewed. The construction project was funded by the Free State of Thuringia , the Federal Republic of Germany and the European Union with 4.3 million euros. Previously, the Neue Bachgesellschaft had also acquired the adjacent properties Frauenplan No. 21a and Frauenplan No. 23 with donations from their association members. A smaller new building in the rear (southern) part of the property was built in 2001; it now contains a room for museum education and a public library. The demolition of the neighboring buildings on the Frauenplan No. 21a and No. 23 plot to the west of the Bachhaus, towards the Frauenplan, in preparation for the new development in 2000 and 2001 was very controversial in Eisenach, as it was a major intervention in the existing structural ensemble on the Frauenplan. The same applies to the sculptural new building at the Bachhaus, which was finally realized by the Kassel architect Berthold Penkhues , a student of Frank O. Gehry . On March 6, 2003, a jury of five specialist and four material judges, chaired by Professor Jochem Jourdan , awarded Penkhues' design the 1st prize in an anonymous architectural competition from among 12 designs . The facade consists of diamond-shaped shell limestone panels. The new exhibition design comes from Uwe R. Brückner from Stuttgart.

On May 17th, 2007, the newly designed museum was reopened as part of a week of festivities lasting until May 27th for the 100th anniversary of the Bachhaus. On the day of the reopening, the Leipzig St. Thomas Choir gave a concert under St. Thomas Cantor Georg Christoph Biller in the new foyer of the museum.


Foyer with Thomas school door and Bach painting by Johannes Heisig
Bach busts by Knaur, Micheli, Cotta and Göbel

The entrance to the museum is now at the new building. The tour leads from the foyer of the new building over the ground floor of the historic Bach House and the instrument hall or the Bach House garden to the special exhibition rooms in the neighboring building Frauenplan 19 to the east. The exhibition rooms on the upper floor of the Bach House (focus is Bach's biography) lead to a large exhibition room on the upper floor of the new western building (focus is on Bach's music). From there, a staircase leads back to the foyer. The exhibition shows more than 250 original exhibits on 600 square meters.

In the foyer, next to the cash desk, the souvenir shop and the museum café, there is a small exhibition on the history of the owner of the museum, the Leipzig New Bach Society . In addition, since 2018, an exhibition has been introducing the history of Bach representations under the title Bach Types . On show are the Bach busts by Hermann Knaur (1843), Aurelio Micheli (1874), Emma Cotta (1925), Bernd Göbel (1985) and Luigi Colani (1985), as well as an oak wood sculpture by Gerhard Kurt Müller (1981–1984) ), which was created for the Bach Museum Leipzig , which opened in 1985, but was rejected there as "too sad". The 160 × 120 centimeter Bach painting by Johannes Heisig ( To you, Jehovah I want to sing (to Bach). Mixed media on canvas, 2004), which Bach depicts in his "Componir-Stube", deserves special attention . Heisig was a city ​​guest in Eisenach in 2004 .

The historic Bachhaus can be reached from here through a glass joint on the east side of the foyer. The transition is marked by the original entrance door to Bach's apartment in the Thomasschule in Leipzig , through which Bach, his family, friends and students walked for 27 years. A plaque commemorates Joseph Joachim , who was the first to enter the newly opened museum on May 27, 1907.

Exhibition in the historic Bachhaus

The instrument room
The Bachhaus garden
The Bach Cup in the Bachhaus
Stadtpfeiferraum in the Bachhaus
Children's pastels by Carl Philipp Emanuel and Wilhelm Friedemann Bach
The bedroom
Componir room in the Bachhaus
Bach's theological library in the Bachhaus


Coming from the new building you first enter the foyer of the old Bachhaus. The low entrance rooms may have served as stables in the 15th and 16th centuries. Objects relating to the history of the house are on display (including an Eisenach tax file from 1694 to 1695, which documents the payment of poor tax by Bach's father Ambrosius for a house in the Fleischgass ) as well as instrumental curiosities. These include a glass harmonica from around 1775, which is said to come from the possession of Friedrich Schleiermacher , and a trumpet violin from 1717 (violin with built-in natural trumpet) - two such instruments were available to Bach during his time in Köthen 1717–1723. The gilded Bach statue is a design made in 1903 by the sculptor Carl Seffner for the Leipzig Bach monument erected in 1908 .

Instrument room

With 28 largely original baroque instruments, the instrument hall shows a selection from the museum's collection of around 400 musical instruments. The core of the collection is based on a donation from the Leipzig instrument dealer Paul de Wit (1907, four instruments) and a donation from the estate of the musicologist and collector Aloys Obrist (1910, 164 instruments). Three string instruments are particularly noteworthy: a seven-string viol (Leipzig 1725, built by the instrument maker Johann Christian Hoffmann , who was a friend of Bach ), a five-string cello piccolo (Northern Bohemia, around 1750) and a viola d'amore with six playing strings and six sympathetic strings (Vienna , around 1700).

Hourly concerts

Since 1973, keyboard instruments have been presented to visitors every hour in a small, approx. 20-minute concert. The instruments presented today include two organ positives (Switzerland, around 1750 and Thuringia, around 1650), a bound clavichord (around 1770), a spinet (Johann Heinrich Silbermann (a nephew of Bach's friend Gottfried Silbermann ), Strasbourg, 1765) and a copy of a harpsichord by Johann Heinrich Harrass (Breitenbach / Thuringia, 1705). The organs are not operated electrically. While the Swiss organ positive is supplied with wind by the player using a pedal, the Thuringian organ positive always has a visitor ready to step on the bellows. This instrument is the oldest known preserved organ in Thuringia and had served as a church organ in Kleinschwabhausen from 1714 ; Back then, Bach was court organist in Weimar, 15 kilometers away . The court organ maker Heinrich Nicolaus Trebs , who was a friend of Bach, repaired the organ in 1724 and 1740. Bach's pupil and successor as court organist Johann Caspar Vogler examined it in 1738, 1740 and 1744. In the museum it is therefore assumed that Bach also knew the instrument.

Bachhaus garden

The design of the Bachhaus garden as a baroque garden dates from 1907. In the baroque period it was probably used as a vegetable and orchard or as a pasture for cattle. Today it is a protected inner-city garden monument . The location of the well is original. Immediately opposite from the Bachhaus garden you can see the house at Rittergasse No. 11, where Bach's father Johann Ambrosius Bach rented from 1671 to 1674. On the east side of the Bachhaus garden there is an entrance to the special exhibition rooms as well as to the permanent exhibition on the upper floors.

"Bach's Life Stations", Bach Cup

The first room on the upper floor of the historic Bachhaus presents Bach's musical life stages ( Ohrdruf / Lüneburg , Arnstadt , Mühlhausen , Weimar , Köthen , Leipzig ). The individual stations are illustrated by images of the location, a personality with whom Bach was related there, and each with an object. An old men's shoe from the 17th century stands for Bach's hike from Ohrdruf to Lüneburg and a chorus bassoon , crossed by a promenade sword, illustrates how Bach had to defend himself with the sword against an older bassoon student in Arnstadt. A padlock reminds of Bach's four-week imprisonment in Weimar and a counting board with coins (including an Electoral Saxon thaler from 1715) of Bach's good earnings, but also the financial need of his employer, Prince Leopold in Köthen. The original text booklet of the cantata Froher Tag, required hours , printed in 1732 , is on display for Leipzig . Bach performed the cantata this year to mark the reopening of the Thomas School after extensive renovation work. He later used the music of the opening choir again for the Ascension Oratorio (BWV 11, Praise God in his Reichen ). The section ends with a discussion of Bach's eye operation by the traveling ophthalmologist John Taylor in the spring of 1750 - the so-called Bach glasses are on display here .

The most puzzling object exhibited in this room is the Bach Cup , one of very few surviving household items from Bach's possession. It has an intertwined double monogram JSB on the front . Some of the letter ends have point-like thickenings. There are a total of 14 such points -  14 is the Bach number according to the numerical alphabet (B + A + C + H = 2 + 1 + 3 + 8 = 14). On the back there is a dedication poem that plays with Bach's name in musical notation (“bach theurer Bach / g-gis-f-fis ruffet, ach! / E-dis-d-cis hopes for life / if you can for them give. / So listen to it, oh! / Theurer brook Bach. "). The circumstances under which Bach received the trophy are unclear: In the past, a gift for Bach's appointment as the Royal Polish Electoral-Saxon Court Composer in 1736 was suspected, but indications in the music poem indicate a gift from Bach's students Johann Tobias Krebs and Johann Ludwig Krebs appear more likely on Bach's 50th birthday in 1735.

City piper room

The adjoining room is dedicated to the Eisenach town pipers , the duties of Bach's father Ambrosius as the head of the town piping and Bach's Eisenach school days. A copy of the Ambrosius portrait by Johann David Herlicius from 1907 hangs on one wall (1690, the original is now on loan from the Berlin State Library in the new Bach Museum in Leipzig ). Typical Stadtpfeifer instruments (a violin from 1575, as well as zinc , pommer , krummhorn , alto trombone and treble recorder ) are set up in the central showcases . A chorale book (Spiritual hymn book by Melchior Vulpius , 1609) contains possible city whistle pieces. Facsimiles of the school documents stored in the Eisenach city archive document the frequent absences of Bach and other students in the quinta, the start of school at 6 a.m. with Martin Luther's catechism classes , and music lessons four days a week from 12 p.m. to 1 p.m. Particularly noteworthy is the Eisenach hymn book from 1673, which was used in church and in school during Bach's childhood.

"Bach's Wives and Children"

The exhibition in the hallway between the historic living rooms provides information about Bach's wives and his 20 children. A spinning wheel reminds of Bach's first wife Maria Barbara - in Bach's wedding Quodlibet (BWV 524) the spinning wheel symbolizes the marriage bond and the diligence of the wife. Bach's second wife Anna Magdalena , who was “a great gardening lover”, is remembered with a fresh bouquet of yellow carnations. The two original pastel portraits of Bach's sons Wilhelm Friedemann and Carl Philipp Emanuel (painted by Nicolaus Ephraim Bach and Gottlieb Friedrich Bach , c. 1730) deserve special attention .

The historic living rooms

Three further rooms on the upper floor of the historic Bachhaus (bedroom, living room and kitchen) are furnished as historic living rooms. Its furnishings date from the 17th century and - including door fittings and locks - were put together in 1906 by the Weimar court antiquarian Kahlert from the area around the house and from the Thuringia area. The cradle in the bedroom is a donation from Johanna von Hase, the wife of Oskar von Hase, the owner of the Breitkopf & Härtel music publisher . Parts of the dishes in the kitchen were found during excavations in the Bachhaus garden. The living room, which is now a component room, is a so-called plank room , the walls of which are additionally framed with wooden planks for better thermal insulation. Its furnishings reproduce Bach's music room, which is roughly the same size, in the Leipzig Thomas School . Particularly noteworthy is the clavichord exhibited here (built by Christoph Dreßel, Leipzig, around 1680/90).

Bach's theological library

The exhibition area Bach's Inner World has been located in a black-lined room between the historic living rooms since 2017 . This area contains a reconstruction of Bach's theological library on the basis of Bach's estate directory, which shows his personal possession of 52 theological book titles in 81 volumes. Visitors can choose from four radio plays, for which the books on display are illuminated and explained. On the subject of the “Bible”, these include the Bible commentaries by Abraham Calov (1682) and Johannes Olearius (1678), collections of sermons on the Sunday Gospels by Heinrich Müller and August Pfeiffer and the travel book on Holy Scripture ( Itinerarium Sacrae Scripturae , Donat, Magdeburg 1592 ) by Heinrich Bünting . On the subject of "Luther", the Jena and Altenburg editions of Luther are highlighted, on the subject of "Mysticism, Pietism, Orthodoxy" a collection of sermons by Johannes Tauler , printed in Basel in 1522, and on the subject of "Favorite Books" among others works by Johann Jakob Rambach . All books are parallel copies, i.e. the titles in the same edition as probably Johann Sebastian Bach owned. Of the books listed in the register of estates, only his Calov Bible, with numerous annotations, has survived from Bach's personal possession, which probably came to America through emigrants and which is now in the Concordia Seminary Library in St. Louis , Missouri.

Exhibition in the new Bachhaus building

Bachhaus new building with "accessible piece of music"
Bubble Chairs in the Bachhaus
Bach paintings in the Bach House, 2014
Bach picture by Gebel , before 1798
Bach skull and bust in the Bachhaus
Score autograph in the Bachhaus
Clavecin Royal in the Bachhaus

A passage in the kitchen of the historic Bachhaus and the stairs in the glass joint between the two buildings lead to the exhibition in the new building opened in 2007. The exhibition space in the new building deals with three topics under the titles How we see Bach , What we know about Bach and How we play Bach . These three themes are arranged around a central spatial sculpture, the accessible piece of music .

"Bubble Chairs"

First, the visitor comes across five hanging seat shells, so-called bubble chairs , which the Finnish designer Eero Aarnio designed in 1968 . When you sit down in the bubble chairs , five different works by Johann Sebastian Bach can be heard. These are the following pieces:

  • Bach - the composing virtuoso: Harpsichord Concerto in A major, 1st movement Allegro (BWV 1055/1)
  • Bach - the imaginative perfectionist: Cello Suite No. 1 in G major, 1st movement Prelude (BWV 1007/1)
  • Bach - the living teacher: Goldberg Variations (BWV 988)
  • Bach - the musical preacher: Jesus remains my joy (BWV 147/10)
  • Bach - the changer and new creator : orchestral suite in D major, 2nd movement Air (BWV 1068/2)

Behind the bubble chairs there is a second Bach painting by Johannes Heisig , also 160 × 120 centimeters in size ( Just fight, you lively tones (on Bach). Mixed media on canvas, 2004/2005), which Bach performed during a cantata performance with his Thomaner represents in the Leipzig Thomaskirche . Like the one in the foyer, the painting was created during Heisig's stay as a city guest in Eisenach and was acquired by the museum in 2017 from a private collection.

"How we see Bach"

The How We See Bach section deals with Bach iconography from contemporary representations to the present day. One of the original paintings on display is the (dubious) Bach portrait by Johann Jacob Ihle , which is said to have been made around 1720, another is the pastel from the Manfred Gorke collection, the 1936 by Charles Sanford Terry as the one from letters from Carl Philipp Emanuel Bach well-known pastel portrait of Bach was determined, but is also doubtful today. The early Bach painting by Gebel , which was shown on the title page of the first volume of the Allgemeine Musikalische Zeitung from 1798/99, is also on display . A copy from 1910 of the undoubtedly authentic Bach painting by Elias Gottlob Haussmann (1746) is on display; the original is in the Museum of City History in the Old Town Hall in Leipzig .

The part of the exhibition explains the development of the Bach picture from the 18th to the 20th century using 39 original graphics and ends with the first Bach facial reconstruction based on the skull bone by Wilhelm His and Carl Seffner in 1894 and the second forensic Bach facial reconstruction Caroline Wilkinson in 2008. Exhibited here is u. a. a bronze cast of Bach's skull.

“What we know about Bach”, Bach autograph

The area What we know about Bach deals with Bach research, it leads from the first Bach biographies (among other things, the Musicalisches Lexicon by Bach's friend Johann Gottfried Walther , 1732, and the manuscript of the Bach biography by Philipp Spitta , before 1873) to the reconstruction of lost compositions (the handwritten reconstruction of the cantata BWV 190 by Ton Koopman is on display) to a Bach autograph exhibited in the original, the history of which is presented in chronological order until it is included in the New Bach Edition .

The autograph on display is a continuo part of the cantata Everything only according to God's will (BWV 72). The right side of the exhibited sheet (opening chorus, recitative) was written by Bach's nephew Johann Heinrich Bach (the son of Bach's Ohrdrufer brother Johann Christoph Bach ), the aria on the left side by Bach's wife Anna Magdalena Bach , and the final chorale, the Über - and signatures and individual corrections are made by Johann Sebastian Bach.

The autograph is explained musically at a listening station using Albert Schweitzer 's commentary on the work . A computer with links to Bach research institutions and a small reference library is located on a researcher's desk. a. a Bach works directory and Bach biographies in German, English, French and Japanese.

“How we play Bach” / children's corner

The section How we play Bach is dedicated to Bach performance practice since Bach's death. The traditional history deals with the Bach reception mediated by Bach's sons (exhibited include Bach 's four-part chorale chants 1784–1787 edited by Carl Philipp Emanuel Bach ), the competition for the printing of Bach's Well-Tempered Clavier in 1802 (the first prints by Nägeli are on display and Simrock ), the re-performance of the St. Matthew Passion by Felix Mendelssohn Bartholdy in 1829, work on the first Bach Complete Edition and finally the return to Bach's contemporary instruments through historical performance practice in the 20th century. Noteworthy are the exhibited square piano (Clavecin Royal, Johann Gottlob Wagner, Dresden 1788), which at this point is representative of the progress in piano making, as well as a letter from Robert Franz to Paul Graf von Waldersee dated August 19, 1876, in which he about the Bach Accompagnements by Joseph Joachim that they are "roughly on the same level as the trash his friend Brahms did on the occasion of Handel's Cammerduette."

Under the heading “Inspiration and Popularization”, a part added in 2015 deals with the reception of Bach's music in popular culture. A first print of the Ave Maria by Charles Gounod is on display , which provided Bach's Prelude in C major (BWV 846) from the Well-Tempered Clavier with a melody part. 35 interpretations can be heard, including a. by Zarah Leander , Nana Mouskouri , Shirley Bassey , Heino and the Toten Hosen . The popularization of Bach's Toccata and Fugue in D minor BWV 565 is illustrated using the film Fantasia by Walt Disney . Finally, a clarinet owned by Benny Goodman is on loan from the Lippmann + Rau Music Archive , and Goodman's interpretation of Alec Templeton's piece Bach Goes to Town from October 6, 1939 can be heard in Carnegie Hall .

Immediately behind this exhibition area there is a children's corner, u. a. with a large organ sliding puzzle (it shows the organ of the Bachkirche Arnstadt ).

"Walk-in piece of music"

The central room element in the new Bachhaus building is the accessible piece of music . On the outer skin, curved like a sound wave, there are 13 listening stations, at which musical questions and genres from the Bach era are explained with audio examples ( polyphony , fugue , figured bass , tuning , Bach's parody method , organ music , cantatas and passions , secular cantatas , sonata and suite , concerto , overture , Motets , late work ). Inside there is a multimedia installation that links four of the questions discussed outside with an exhibit and a specially produced film staging of a Bach performance (on a 180 ° screen). The concept was implemented by the Berlin director Marc Tamschick together with the composer Marc Lingk . The following topics and films appear in the walk-in piece of music :

theme Special exhibit photo Piece, contributor, date of recording
Polyphony - fugue The Art of Fugue, first edition, 1751 Art of the fugue in the Bachhaus Johann Sebastian Bach: The Art of Fugue (BWV 1080, Contrapunctus I, IX); Music: Harmonie Universelle ( Florian Deuter ); Dance: pretty ugly tanz köln (choreography: Amanda Miller); Location: Schauspielhaus Köln ; Photo taken on: June 23, 2006
Parody proceedings Text booklet (libretto) Tone, you timpani! Breitkopf, Leipzig 1733 (facsimile) Thomanerchor in the Bachhaus Johann Sebastian Bach: Tone, you timpani! (BWV 214, entrance choir); Rehearsal by the St. Thomas Choir ( Georg Christoph Biller ) with the New Bachisches Collegium Musicum ( Albrecht Winter ); Location: Old Town Hall Leipzig ; Photo taken on: March 25, 2006
Organ music Original manual of the Wender organ of the Brückenhofkirche Mühlhausen, played every 14 days by Bach 1707–1708 , 1702 (loan from the parish of St. Georg, Dörna) Schuke organ in the Bachhaus Johann Sebastian Bach: Toccata, Adagio and Fugue (BWV 564, Toccata, Adagio); Organist: Oliver Stechbart; Locations: Divi Blasii , Mühlhausen ( Schuke organ), St. Georg, Dörna ( Wender organ); Date of recording: 17./18. July 2006
Continuity and rediscovery Original choir part of Mendelssohn's performances of the St. Matthew Passion on March 11, 1829 (Berlin) and April 4, 1841 (Leipzig) (loan from the Mendelssohn House ) St. Matthew Passion in the Bachhaus Johann Sebastian Bach / Felix Mendelssohn Bartholdy: St. Matthew Passion (BWV 244, No. 61a – 63b, 65); Music: Chorus Musicus Cologne, Das Neue Orchester, Cologne (conductor: Christoph Spering ); Soloists: Andreas Karasiak (tenor), David Jerusalem (bass); Location: Trinitatiskirche , Cologne; Photo taken on: June 26th, 2011

Special exhibitions

Special exhibition 2008

The following special exhibitions have taken place in the Bachhaus Eisenach since 2004:

  • 2004: "I had to be hardworking ..." - Johann Sebastian Bach and his childhood in Eisenach
  • 2005: Johann Sebastian Bach - a matter of opinion
  • 2007: The Man with the Golden Vest (to Johann Christian Bach )
  • 2008: Bach in the mirror of medicine
  • 2009: Blood and Spirit - Bach, Mendelssohn and their Music in the Third Reich
  • 2010: Bach's Passions - between Lutheran tradition and Italian opera
  • 2011: Memories of Wanda Landowska
  • 2012: Luther and [Bach] music
  • 2013: Bach & Friends
  • 2014: "B + A + C + H = 14": Bach and the numbers
  • 2015: Bach in Berlin
  • 2016: Luther, Bach - and the Jews
  • 2017: Text: Luther & Music: Bach
  • 2018: Women and Bach's Music
  • 2019: picture puzzle

The Bachhaus Eisenach has also been holding spring exhibitions in the Berlin Cathedral every year since 2013 .

Concerts and events

The Bachhaus Eisenach has its own concert series with around 10 concerts per year. Festive concerts take place on Christmas, New Year and Bach's birthday (March 21). The Bachhaus takes part in the regional music festivals Thuringian Bach Weeks and Güldener Herbst and regularly presents the winners of the Leipzig Bach Competition in concerts.

Museum education

The museum offers themed visiting programs for children and young people. A separate room is available for this. The programs include the following topics:

Program title theme procedure Ages
Fight, prison, two women and 20 children Bach's biography Biographical Leadership; Audio samples; Demonstration of keyboard instruments all
Cabbage and turnips drove me away ... Life around 1700 Tour of the living rooms; Clothing around 1700; Nutrition then and now; Demonstration of keyboard instruments; Rehearsing the canon "cabbage and beet" 7-11 years
Bach flowers Bach quiz Quiz to explore the exhibition independently; Audio samples; Demonstration of keyboard instruments; evaluation 9–13 years
With quill pen and pig bristle Baroque musical instruments Guide; small musical instrument studies; Construction, function and sound properties; baroque design; Demonstration of keyboard instruments all
What would Bach have said about that? Bach arrangements Demonstration of keyboard instruments; Original and editing; Bach in jazz, rock / pop and advertising; Audience, reception conditions and musical aesthetics are changing 14-18 years
May i ask Bach and the dance Demonstration of dance movements on keyboard instruments; Rehearsal of a baroque dance (simple minuet) all

Specialized library, mailing of sheet music

The public library of the Bachhaus has a collection of around 5500 volumes of literature on Bach and his environment from 1800 onwards, as well as on general music history. The inventory also includes academic and practical sheet music editions as well as an extensive collection of sound carriers. Performance material for Bach cantatas can be borrowed from choirs. Some of the holdings can be researched via an OPAC affiliated to the Joint Library Network (GBV) .


As the first and for a long time the only Bach museum, the Bachhaus received the statutory mandate in 1907 to “collect and store everything that relates to Johann Sebastian Bach and his life's work”. At the same time, at the time the museum was founded, the fulfillment of the contract was hardly to be thought of: around 80 percent of the well-known Bach autographs were then, as they are today, in the collections of the Berlin State Library , and the remainder would be in private ownership - provided that by Buy standing - hardly affordable for a museum of a civic association. After all, the museum has the following autographs today:

composer plant Art Autograph shares of
Joh. Christoph Bach Aria Eberlina Variations for harpsichord on a theme by Daniel Eberlin Joh. Christoph Bach
Joh. Sebastian Bach It is salvation we come here (BWV 9) Soprano voice Wilhelm Friedemann Bach
Joh. Sebastian Bach Everything only according to God's will (BWV 72) Continuo part Joh. Sebastian Bach, Joh. Heinrich Bach, Anna Magdalena Bach
Joh. Sebastian Bach Lord God, we all praise you (BWV 130) Continuo part Christian Gottlob Meißner, Joh. Sebastian Bach
Joh. Sebastian Bach I have my confidence (BWV 188) Score (fragment) Joh. Sebastian Bach
Presumed bones of Bach, pouring out the skull, plaster of paris, 1894
JS Bach / F. Mendelssohn Bartholdy: Choral If I'm supposed to part . Manuscript, ca.1829.

In the following years, the collection increased in particular through donations (e.g. from Oskar von Hase and the publishers CF Peters and Breitkopf & Härtel ) and bequests (e.g. from Philipp Spitta , Wilhelm Rust , Paul Graf von Waldersee , Aloys Obrist , Wilhelm His , Christoph Trautmann ). In addition to the autographs and the objects shown in the exhibition, the following particularly stand out: a Thuringian harpsichord from 1715, a harpsichord by Jacob Hartmann (approx. 1765), a second spinet by Johann Heinrich Silbermann (1765) and a fretless pedal clavichord (around 1815 ). Also the school books by Wilhelm Friedemann Bach , a first print of the Musical Victim from 1747 (fascicle A), source C of Bach's lost genealogy of the musical-Bach family , the only surviving text print of the lost Bach cantata His blessing therefore flows like a stream ( BWV Anh. 14, Immanuel Tietze, Leipzig 1725), a collection of silhouettes of the Ohrdrufer Bach family , letters from Bach researchers of the 19th century such as Karl Hermann Bitter , and the skull casts by Wilhelm His and Carl Seffner (including brainshell castings in Plaster of paris and bronze). Since 2013, the Bachhaus has also owned 62 of the originally probably 152 original handwritten choir parts from which the Sing-Akademie zu Berlin under Felix Mendelssohn Bartholdy performed Bach's St. Matthew Passion for the first time after Bach's death on March 11, 1829 .

This results in the following collection focuses today:

  • Baroque musical instruments
  • Bach iconography
  • First and early sheet music prints
  • Theology in the context of Bach
  • Bach biography and reception in the 19th century

Sponsorship, blue book, Bachhaus directors

The building and collection of the Bach House are owned by the New Bach Society. The museum operator has been Bachhaus Eisenach gGmbH since July 5, 2001 , whose sole shareholder is the non-profit association Neue Bachgesellschaft e. V. is. In addition to the New Bach Society, the city ​​of Eisenach , the Evangelical Lutheran Church and the Free State of Thuringia are represented on the Supervisory Board of Bachhaus Eisenach gGmbH . The financing of the Bach House is contractually regulated between the New Bach Society, the City of Eisenach and the Free State of Thuringia. The Free State of Thuringia bears the majority of the budget grants. An important source of funding is own income as well as private donations in money and in kind.

The Bachhaus Eisenach has been registered in the federal government's blue book on cultural beacons in the five new federal states as a "cultural memorial of national importance" since 2001 and has access to project-related funding from the federal government commissioner for culture and media .

Since opening, the museum has been run by the following directors:

  • Georg Bornemann, 1907–1918 (Assistant: Albrecht Göhler, brother of the composer and conductor Georg Göhler , 1912–1914)
  • Ernst Fleischer, 1918–1923
  • Conrad Freyse, 1923–1964
  • Günther Kraft , 1964–1971
  • Ilse Domizlaff, 1971–1990
  • Claus Oefner , 1990–2001 (also managing director: Jörg Hansen 07 / 2001–12 / 2001)
  • Franziska Nentwig, 2002-2005
  • Jörg Hansen, since 2006


The Bachhaus has around 60,000 visitors annually. After the Beethoven House in Bonn, it is the most visited musician museum in Germany.


Bach monument in Eisenach
Light installation at the Bachhaus
Clinton and Kohl in the Bachhaus, 1998

Bach monument

The Eisenach Bach monument is located in a small park-like area in front of the museum. It is the oldest figural monument to Johann Sebastian Bach and was created by Adolf von Donndorf and cast by Hermann Heinrich Howaldt in Braunschweig. The order for this was given in 1878 by a citizens' association, the “Monument Committee”, to which u. a. the then city cantor Carl Müller-Hartung and the poet Fritz Reuter , who lived in Eisenach, belonged. To finance it, Clara Schumann , Hans von Bülow , Joseph Joachim and Franz Liszt gave benefit concerts. The inauguration took place on September 28, 1884 with a performance of the B minor Mass BWV 232 under the direction of Joseph Joachim. The memorial, initially erected in front of the Georgenkirche , Bach's baptismal church, was moved in front of the Bachhaus in 1938 as part of a redesign of the women's plan. The monument shows the composer standing, holding a quill in his right hand, in front of a music stand supported by an angel. Since the base was severely shortened when it was relocated, the relief originally attached is now on the rear wall. It shows St. Caecilie as the patron saint of church music. Every year on the morning of March 21st, Bach's birthday is celebrated with a ceremony on the memorial forecourt.

Light installation

The Saarbrücken light artist Ingo Bracke created the light installation IN VERSUS F: Light as a score - architecture as sound for the new Bachhaus building . It was performed for the first time on December 13, 2008 at the Bachhaus. Since March 21, 2011, the light installation can be seen on all Saturday evenings and on the eve of public holidays from dusk until 11 p.m.


For the innovative exhibition design of the new permanent exhibition in the Bachhaus Eisenach, the jury of the Art Directors Club awarded the Stuttgart Atelier Brückner on April 12th, 2008 an ADC award in bronze.

The Berlin director and multimedia artist Marc Tamschick was awarded the finalist diploma on May 14, 2008 at the World Media Festival in Hamburg for the accessible piece of music in the Bachhaus Eisenach .

The Association of German Interior Architects (BDIA) awarded the Stuttgart exhibition designers Atelier Brückner the special scenography award for the design of the new permanent exhibition at the Bach House on October 24, 2008.


Classical music on original instruments from the Bachhaus , interpreters Felix Friedrich , Irmtraut Friedrich a. a., Jokers edition, an Ewald Schumacher production, Bachhaus edition.

See also


  • Christoph Wolff: Johann Sebastian Bach . S. Fischer, Frankfurt am Main 2007 (2nd edition), ISBN 978-3-596-16739-5 .
  • Martin Petzoldt: Bach sites. A travel guide to Johann Sebastian Bach . Insel, Frankfurt, 2000, ISBN 978-3-458-34220-5 .
  • Hartmut Ellrich: Bach in Thuringia . Sutton, Erfurt, 2011 (2nd edition), ISBN 978-3-86680-856-0 .
  • Ilse Domizlaff: The Bachhaus Eisenach: facts and documents . Bachhaus, Eisenach 1984.
  • Conrad Freyse: Fifty Years of the Bachhaus . Evangelical Publishing House, Berlin 1958.
  • Wolfgang Heyde: Historical musical instruments in the Bachhaus Eisenach , Bachhaus, Eisenach, 1976.
  • Jörg Hansen: Bach House Eisenach . Schnell & Steiner, Regensburg 2011 (7th edition), ISBN 978-3-7954-4008-4 .
  • Jörg Hansen: The Bach iconography . In: Siegbert Rampe (Ed.): Bachs Welt - Das Bach-Handbuch Vol. 7, Laaber-Verlag, Laaber, 2015, ISBN 978-3-89007-457-3 , pp. 154-296.
  • Jörg Hansen: 100 years of Bachhaus Eisenach. New building, renovation of old buildings, redesign of the permanent exhibition and opening ceremony on May 17, 2007. In: Thüringer Museumhefte. 16, 2007, 1, pp. 101-112.
  • Jörg Hansen: 10 years Bachhaus Eisenach gGmbH. An experience report . In: Thuringian museum books. 20, 2011, 1, pp. 48-61.

Web links

Commons : Bachhaus Eisenach  - Collection of images, videos and audio files

Individual evidence

  1. ^ Christoph Wolff: Johann Sebastian Bach. S. Fischer, Frankfurt 2000, pp. 18-19, 21.
  2. ^ Christoph Wolff: Johann Sebastian Bach. P. 21.
  3. ^ Martin Petzoldt: Bach places. Insel, Frankfurt 2000, p. 68.
  4. Cf. Ilse Domizlaff: The Bach House Eisenach. Bachhaus Eisenach, 1983, p. 128: "At the time of Bach's birth, the Bachhaus was owned by the Braunschweig-born Rector of the Latin School Heinrich Börstelmann, who, however, rented it to three tenants."
  5. ^ Christoph Wolff: Johann Sebastian Bach. P. 21 (names the house Lutherstrasse No. 35 as the house where he was born).
  6. ^ Christoph Wolff: Johann Sebastian Bach. P. 30.
  7. ^ Christoph Wolff: Johann Sebastian Bach. Pp. 27, 30.
  8. ^ Christoph Wolff: Johann Sebastian Bach. P. 42.
  9. ^ Jörg Hansen: 100 years of Bachhaus Eisenach. 1, p. 101. For the underlying dendrochronological study by the University of Bamberg, see: Bachhaus - one of the oldest half-timbered houses . News service, August 28, 2006. Retrieved November 16, 2011.
  10. Ilse Domizlaff: The Bach House Eisenach. P. 129; Hartmut Ellrich: Bach in Thuringia. Sutton, Erfurt 2011, p. 55.
  11. Ilse Domizlaff: The Bach House Eisenach. Pp. 7-8.
  12. See Karl Hermann Bitter: Johann Sebastian Bach. Wilhelm Baensch, Berlin 1881 (2nd ed.), Pp. 49–50: “On the women's plan there rises above a hill-like elevation clad with green lawns, a house of modest size and comfortably inviting exterior. The gaze glides from him over the open space to the wooded heights that surround the city. A spacious hallway, where in the times of the old bourgeoisie the family used to gather, welcomes those entering. In the background to the right, a winding staircase leads to the kitchen, which is halfway up the house, and to the upper floor of the house. The rear gate leads directly into a friendly little garden. Small low room interpretations of the lesser domestic needs of earlier times. The whole of the house shows that its residents may have enjoyed a certain wealth. ”See further on Bitter's research Ilse Domizlaff: The Bachhaus Eisenach. , P. 13: “During the preparatory work on his Bach biography published in 1865, Carl Heinrich Bitter established relationships with the still living descendants of Johann Bernhard Bach in order to research the area around Johann Sebastian's childhood. He learned the oral tradition that had long been spread orally in Eisenach that Johann Sebastian Bach was born in this very house and described it in this way in his Bach biography. Furthermore, reference was made to an allegedly lost family chronicle. Later biographers did not check whether these statements were made and simply adopted them. "
  13. ^ On the history of the plaque Ilse Domizlaff: Das Bachhaus Eisenach. P. 12.
  14. ^ Martin Petzoldt: Bach places. Insel, Frankfurt 2000, p. 67.
  15. ^ Conrad Freyse: Fifty Years of the Bachhaus. Evangelische Verlagsanstalt, Berlin 1958, p. 20, fn. 34.
  16. On the acquisition history and the demolition plans Ilse Domizlaff: Das Bachhaus Eisenach. Pp. 16-21. Domizlaff concedes that one of the most beautiful surviving Renaissance town houses in Eisenach is due to the historical error in the determination of Bach's birthplace.
  17. ^ New Bach Society: Third German Bach Festival for the inauguration of Johann Sebastian Bach's birthplace as a Bach Museum: Festival and program book. Breitkopf and Härtel, Leipzig 1907.
  18. For Rollberg's research and the results, see Ilse Domizlaff: Das Bachhaus Eisenach. Pp. 8–9 and pp. 128–132.
  19. ^ Conrad Freyse: Fifty Years of the Bachhaus. P. 23; Ilse Domizlaff: The Bachhaus Eisenach. Pp. 60-61.
  20. SMA order No. 289 of July 13, 1946, printed by Ilse Domizlaff: Das Bachhaus Eisenach. P. 67.
  21. Conrad Freyse: Fifty years of Bachhaus Eisenach. P. 12.
  22. Ilse Domizlaff: The Bach House Eisenach. P. 104.
  23. Ilse Domizlaff: The Bach House Eisenach. P. 106.
  24. ^ Jörg Hansen: 10 years Bachhaus Eisenach gGmbH. Pp. 49, 61 (fn. 1).
  25. Ilse Domizlaff: The Bach House Eisenach. Pp. 125-126.
  26. ^ Jörg Hansen: 100 years of Bachhaus Eisenach. P. 104.
  27. See Bachhausensemble on the website of the Friends of the Conservation of Eisenach Projects - Friends of the Conservation of Eisenach eV ( Memento from July 21, 2007 in the Internet Archive )
  28. ^ Curriculum vitae of Berthold H. Penkhues ( memento from September 6, 2012 in the web archive ) on the website Retrieved May 1, 2018.
  29. Bachhaus - Prize winners have been determined. News service, March 10, 2003. Accessed November 16, 2011.
  30. ^ Jörg Hansen: 100 years of Bachhaus Eisenach. P. 106.
  31. Festival week 100 years of Bachhaus - 17. – 27. May 2007. . News service, May 15, 2007. Accessed November 16, 2011.
  32. ^ Jörg Hansen: 10 years Bachhaus Eisenach gGmbH. P. 58. The following description of the exhibition follows the information in the museum and in the museum guide Jörg Hansen: Bachhaus Eisenach.
  33. See Gerald Felber: Underneath a head that is too full In: Frankfurter Allgemeine Zeitung , April 9, 2018, accessed on April 29, 2018. For the history of the Bach sculpture by Gerhard Kurt Müller see further Alexander Kissler: Das Holz wants es so , Cicero , May 2018, pp. 110-111.
  34. ↑ Farewell city ​​guest. News service, October 12, 2004. Accessed November 16, 2011.
  35. For a detailed description of the museum's collection of instruments, see Herbert Heyde: Historical musical instruments in the Bachhaus Eisenach. Bach House Eisenach 1976.
  36. ^ Herbert Heyde: Historical musical instruments in the Bachhaus Eisenach. P. 74 No. I 35.
  37. ^ Herbert Heyde: Historical musical instruments in the Bachhaus Eisenach. P. 102 No. I 70.
  38. ^ Herbert Heyde: Historical musical instruments in the Bachhaus Eisenach. P. 80 No. I 42.
  39. Ilse Domizlaff: The Bach House Eisenach. P. 104. See already Conrad Freyse: Fifty Years of the Bachhaus. P. 22: “It goes without saying that the music in the Bachhaus must not be silent. Our guides are able to play on the original keyboard instruments; the historical sound is to be brought close to the ear of the visitor. "
  40. ^ Herbert Heyde: Historical musical instruments in the Bachhaus Eisenach. Pp. 164-166, No. I 93.
  41. ^ Herbert Heyde: Historical musical instruments in the Bachhaus Eisenach. P. 136 No. I 80.
  42. ^ Herbert Heyde: Historical musical instruments in the Bachhaus Eisenach. P. 127 No. I 75.
  43. Birthday with film premiere and organ consecration . News service, March 9, 2012. Accessed on September 15, 2012. The positive organ was used as a prison organ in Weimar from 1816 onwards. The prison inspector Johann August Stickel noted on a piece of paper glued into the housing: The convicts present at that time, 83 in number, each added 2 groschen for the smallest amount. In the 20th century the positive organ was owned by the musicologist Traugott Fedtke . In 2009 it was acquired by the Bachhaus at an auction. See Thuringian baroque organ returns home. News service, December 10, 2009. Retrieved September 15, 2012.
  44. Alexander Hiller: Who did Bach's glasses belong to? Bach Magazine 17, 2011, p. 51.
  45. Conrad Freyse: The donors of the Bach Cup. In: Bach-Jahrbuch 40, 1953, pp. 108–118; Eric Chafe: Tonal Allegory in the Vocal Music of JS Bach , Oxford: University of California Press, 1991, chap. 2, pp. 27-30.
  46. Werner Neumann, Hans Joachim Schultze: Bach documents Volume II - Foreign and printed documents 1685-1750 . Bärenreiter, Kassel 1969, p. 423.
  47. Ilse Domizlaff: The Bach House Eisenach. P. 21.
  48. See Tilman Krause: You can't have enough Bibles. In: Die Welt , March 27, 2017, accessed on April 29, 2018.
  49. Printed in Robin A. Leaver: Bach's Theological Library. Hänssler, Stuttgart 1983, ISBN 978-3-7751-0841-6 , pp. 30-35.
  50. On the history of the Calov Bible cf. the English Wikipedia entry : Calov Bible .
  51. ^ Charles Sanford Terry: Portraits of Bach. In: Music & Letters 17, 1936, pp. 286-288. For the history of this picture and alternative candidates for the Bach pastel from Carl Philipp Emanuel Bach's possession, see Jörg Hansen: Die Bach-Ikonographie , pp. 198–234.
  52. Emanuel Traugott Goebel (1751–1813) or Johann Emanuel Goebel (1720–1759) can be considered as painters, see Ingrid Reissland: Johann Sebastian Bach - portraits and portraits in the mirror of Bach iconography. In: Reinmar Emans (Ed.): The young Bach - because he cannot be stopped, accompanying book, Erfurt: First Thuringian State Exhibition, 2000, pp. 131–155 (144). For the tradition of the picture see Günther Wagner: An unknown portrait of Johann Sebastian Bach from the 18th century? In: Bach-Jahrbuch 81, 1988, pp. 231–233, further Jörg Hansen: Die Bach-Ikonographie , pp. 188–197.
  53. ^ Werner Neumann: Image documents on the life story of Johann Sebastian Bach (Bach documents, Volume IV). Bärenreiter, Kassel 1979, ISBN 978-3-7618-0250-2 . / Gisela Vogt (Ed.): Bach portraits as a reflection of the Bach picture. B. Katzbichler, Munich 1994, ISBN 978-3-87397-129-5 .
  54. ^ Johann Sebastian Bach: New edition of all works , Series I, Cantatas Volume 6, Critical Report. Bärenreiter, Kassel 1996, p. 66.
  55. ^ Albert Schweitzer: JS Bach le musicien-poète . Breitkopf & Härtel, Leipzig 1905. German translation: Albert Schweitzer: Johann Sebastian Bach , Breitkopf & Härtel, Wiesbaden 1990 (11th edition), ISBN 978-3-7651-0034-5 .
  56. ^ Herbert Heyde: Historical musical instruments in the Bachhaus Eisenach. Pp. 143-145 No. I 85.
  57. St. Matthew Passion as a blockbuster . News service, June 29, 2011. Accessed November 16, 2011.
  58. Franziska Nentwig, Uwe Fischer: I had to be hardworking. Johann Sebastian Bach and his childhood in Eisenach. Exhibition catalog. Bachhaus, Eisenach 2004, ISBN 978-3-932257-03-2 .
  59. ^ Franziska Nentwig, Sebastian Köpcke: Johann Sebastian Bach: A matter of opinion . Bachhaus, Eisenach 2005, ISBN 978-3-932257-04-9 .
  60. Without catalog. See Volker Blech: The black sheep of the Bach family. In: Die Welt , August 18, 2007, accessed November 16, 2011.
  61. Jörg Hansen: Bach in the mirror of medicine. Exhibition catalog. Bachhaus, Eisenach 2008, ISBN 978-3-932257-05-6 .
  62. On the exhibition see also Jörg Hansen: Bach im Spiegel der Medizin. Special exhibition in the Bachhaus Eisenach. Thüringer Museumshefte 17, 2008, 1, pp. 73–81. / Eleonore Büning: The God-intended trace. In: Frankfurter Allgemeine Zeitung , February 27, 2008, accessed on November 16, 2011.
  63. Jörg Hansen, Gerald Vogt: Blood and Spirit - Bach, Mendelssohn and their music in the Third Reich. Appropriation, abuse, extermination. Bachhaus, Eisenach 2009, ISBN 978-3-932257-06-3 .
  64. On the exhibition, see also Hans Jürgen Linke: Full of zeal, full of anger. In: Frankfurter Rundschau , May 6, 2009, accessed on November 16, 2011.
  65. Without catalog. See Jan Brachmann: Please don't sing so theatrically. In: Frankfurter Allgemeine Zeitung , June 2, 2010, accessed on November 16, 2011.
  66. Without catalog. See Tobias Kühn: Missionary on the harpsichord. In: Jüdische Allgemeine , June 23, 2011, accessed November 16, 2011.
  67. Without catalog. See Michael Jäger: The world is not out of joint. In: Friday , March 23, 2012, accessed on September 15, 2012.
  68. ^ Jörg Hansen: Bach & Friends. 82 copper engravings for the Bach biography. Bachhaus, Eisenach 2013, ISBN 978-3-932257-07-0 .
  69. Without catalog. See Tim Caspar Boehme: What is the cross sum of 329? In: taz , August 3, 2014, accessed on November 28, 2014.
  70. Without catalog. See Alexander Odefey: Various instruments, a wedding and a sacrifice for the king In: NZZ , October 3, 2015, accessed on July 9, 2016.
  71. Jörg Hansen: Luther, Bach - and the Jews , exhibition catalog, Bachhaus, Eisenach 2016, ISBN 978-3-932257-08-7 . See Volker Hagedorn: "His blood come over us" In: DIE ZEIT , No. 30/2016, July 14, 2016, p. 47, accessed on July 29, 2016. Next Arno Widmann: Was Johann Sebastian Bach an anti-Semite In: Berliner Zeitung , No. 173/2016, July 26, 2016, p. 20, accessed on July 29, 2016.
  72. See Wolfgang Hirsch: Luther's achievements as a song writer - special exhibition in Eisenach In: TLZ , April 29, 2017, accessed on May 17, 2017.
  73. See Wolfgang Hirsch: Special exhibition Bachhaus Eisenach: Women and Bach's Music In: TLZ , April 28, 2018, accessed on April 29, 2018.
  74. Wolfgang Schreiber: What did Johann Sebastian Bach really look like? In: Süddeutsche Zeitung, July 7, 2019, accessed on September 17, 2019.
  75. For an overview of the exhibitions see Bach exhibitions in the Kaiserflur , homepage of the Berlin Cathedral, accessed on September 18, 2019. For 2016 see “Gehülfin” or harpsichord amazon: Johann Sebastian Bach and his women , Deutsche Welle , March 10, 2016, Retrieved September 18, 2019. For 2018, see Great Drama , March 31, 2018, September 18, 2019.
  76. ^ Bachhaus Eisenach, Museum Education
  77. OPAC of the Bach House
  78. ^ New Bach Society: Third German Bach Festival for the inauguration of Johann Sebastian Bach's birthplace as a Bach Museum. Fest- und Programmbuch, Breitkopf & Härtel, Leipzig, 1907, p. 7. Cf. also the statutes of the Neue Bachgesellschaft printed there on pp. 8–11, § 6: The Neue Bachgesellschaft acquires and maintains the birthplace of Johann Sebastian Bach in Eisenach and Founds a museum in this Bach house that collects and preserves everything that concerns Johann Sebastian Bach and his life's work.
  79. Bach Collection . Website of the Berlin State Library . Retrieved November 16, 2011.
  80. Ilse Domizlaff: The Bach House Eisenach. P. 33.
  81. Conrad Freyse: Fifty years of Bachhaus Eisenach. Pp. 17, 21.
  82. ^ Herbert Heyde: Historical musical instruments in the Bachhaus Eisenach. P. 132 No. I 78.
  83. ^ Herbert Heyde: Historical musical instruments in the Bachhaus Eisenach. P. 129 No. I 77.
  84. ^ Herbert Heyde: Historical musical instruments in the Bachhaus Eisenach. P. 127 No. I 76.
  85. ^ Herbert Heyde: Historical musical instruments in the Bachhaus Eisenach. P. 138 No. I 82.
  86. For these objects see Conrad Freyse: Fifty Years Bachhaus Eisenach. Pp. 17-21. For the brainshell spout, see Jörg Hansen: Bach im Spiegel der Medizin: Exhibition catalog. Bachhaus, Eisenach 2008, ISBN 978-3-932257-05-6 , p. 18.
  87. See Volker Blech: Mendelssohn Bartholdy's lost musical treasure trove. In: Berliner Morgenpost , February 14, 2013, accessed on February 21, 2013.
  88. ^ Jörg Hansen: 10 years Bachhaus Eisenach gGmbH. Pp. 51, 60.
  89. For the period up to 1983 see Ilse Domizlaff: Das Bachhaus Eisenach. ( Memento of September 27, 2007 in the Internet Archive ). Since 2002 the director (ie museum director) is the same as the managing director of Bachhaus Eisenach gGmbH.
  90. Praise Bach in his realms . In: Hessische / Niedersächsische Allgemeine, July 15, 2007.
  91. 2010: 62,072 visitors. American guests ensure stable visitor numbers. News service, January 5, 2011. Accessed November 16, 2011. 2012: 59,000 visitors. Wartburg is losing visitors, Bachhaus is increasing something. In: Thüringer Allgemeine , January 10, 2013, accessed on November 28, 2014.
  92. ^ Beethoven-Haus, Bonn, 2010: 100,000 visitors ( taken from the entry Beethoven-Haus ); Bach Museum, Leipzig, 2010: 48,000 visitors, cf. Leipzig Bach Archive draws positive annual results. ( Memento from August 2, 2012 in the web archive ) In: Freie Presse , December 22, 2010, accessed on May 1, 2018; Handel House, Halle, 2010: 34,000 visitors, cf. Handel House takes stock: 34,000 visitors came to Halle in 2010. ( Memento from November 17, 2011 in the Internet Archive ) In: Nachrichtenendienst, January 12, 2011, accessed on May 1, 2018.
  93. On the erection of a monument, Ilse Domizlaff: Das Bachhaus Eisenach. Pp. 13-15. / Hartmut Ellrich: Bach in Thuringia. P. 54.
  94. ^ Martin Petzoldt: Bach places. P. 68.
  95. Bachhaus with light art. News service, March 21, 2011. Accessed November 16, 2011.
  96. Bachhaus exhibition awarded by ADC. News service, April 17, 2008. Accessed November 16, 2011.
  97. ↑ A walk-through piece of music by the Bachhaus awarded. News service, May 20, 2008. Accessed November 16, 2011.
  98. Atelier Brueckner receives the German Interior Design Award. News service, November 11, 2008. Accessed November 16, 2011.

Coordinates: 50 ° 58 ′ 17.4 ″  N , 10 ° 19 ′ 21.4 ″  E

This version was added to the list of articles worth reading on July 31, 2007 .