Also in the contemporary press, Bach had his detractors, such as Johann Adolf Scheibe, suggesting he write less complex music, and his supporters, such as Johann Mattheson and Lorenz Christoph Mizler. Such highly placed appreciation contrasted with the humiliations he had to cope with, for instance in his hometown of Leipzig. During his life, Bach received public recognition, such as the title of court composer by Augustus III of Poland and the appreciation he was shown by Frederick the Great and Hermann Karl von Keyserling. In his own time, Bach's reputation equalled that of Telemann, Graun and Handel.

In the 21st century, the complete extant output of the composer became available on-line, with several websites exclusively dedicated to him. The BACH motif, used by the composer in his own compositions, was used in dozens of tributes to the composer from the 19th century to the 21st. chorale prelude) and Wendy Carlos' 1968 Switched-On Bach, which used the Moog electronic synthesiser.īy the end of the 20th century, more classical performers were gradually moving away from the performance style and instrumentation that were established in the romantic era: they started to perform Bach's music on period instruments of the baroque era, studied and practised playing techniques and tempi as established in his time, and reduced the size of instrumental ensembles and choirs to what he would have employed. Among these were the Swingle Singers' versions of Bach pieces (for instance, the Air from Orchestral Suite No. 3, or the Wachet auf. Modern adaptations of Bach's music contributed greatly to his popularisation in the second half of the 20th century. In the 20th century, Bach's music was widely performed and recorded, while the Neue Bachgesellschaft, among others, published research on the composer. Eduard Holzstich, 1850: watercolour of the Bach memorial, erected by Felix Mendelssohn in Leipzig in 1843 in front of the Thomaskirche.

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