A new generation of Bach aficionados emerged: they studiously collected and copied his music, including some of his large-scale works such as the Mass in B minor and performed it privately. Bach's best-known orchestral works are the Brandenburg Concertos, so named because he submitted them in the hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; his application was unsuccessful. The second page of the Klavierbüchlein für Wilhelm Friedemann Bach is an ornament notation and performance guide that Bach wrote for his eldest son, who was nine years old at the time. J. C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied) and Johann Jakob Froberger; North German composers; Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, and Marin Marais; and the Italian clavierist Girolamo Frescobaldi. , The first decades of the 19th century saw an increasing number of first publications of Bach's music: Breitkopf started publishing chorale preludes, Hoffmeister harpsichord music, and the Well-Tempered Clavier was printed concurrently by Simrock (Germany), Nägeli (Switzerland) and Hoffmeister (Germany and Austria) in 1801. He lost his parents at a young age following which his eldest brother took him into his household and began tutoring him.  As part of his application, he had a cantata performed on Easter, 24 April 1707, likely an early version of his Christ lag in Todes Banden. However, many people are unaware that without some specific enthusiasm and recognition for this master’s classical works, Bach might have been relegated to obscurity. 202–228, "A Bach Cult in Late-Eighteenth-Century Berlin: Sara Levy’s Musical Salon", "The Bach Reception in the 18th and 19th century", "Robert Johnson and Pablo Casals' Game Changers Turn 70", "What is Early Music?–Historically Informed Performance", "And Nowhere Bach. He sought collaboration with various text authors for his cantatas and major vocal compositions, possibly writing or adapting such texts himself to make them fit the structure of the composition he was designing when he could not rely on the talents of other text authors. , Bach left Mühlhausen in 1708, returning to Weimar this time as organist and from 1714 Konzertmeister (director of music) at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.  Carl Philipp Emanuel, his second eldest son, was most active in safeguarding his father's legacy: he co-authored his father's obituary, contributed to the publication of his four-part chorales, staged some of his works, and the bulk of previously unpublished works of his father were preserved with his help. Greetings, Martians. , Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was generally quite specific on ornamentation in his compositions (where in his time much of the ornamentation was not written out by composers but rather considered a liberty of the performer), and his ornamentation was often quite elaborate. Several compositions by him survive, and he is also notable today for his copies of numerous keyboard works by Georg Böhm, Johann Pachelbel, Johann Heinrich Buttstett, Dieterich Buxtehude, and other important masters. Hence harmony becomes no longer a mere accompaniment of melody, but rather a potent agency for augmenting the richness and expressiveness of musical conversation.  Bach also composed secular cantatas for the court, such as Die Zeit, die Tag und Jahre macht, BWV 134a. Such highly placed appreciation contrasted with the humiliations he had to cope with, for instance in his hometown of Leipzig. A new extensive Bach biography was published in the second half of the 19th century. Five are mentioned in obituaries, three are extant. In the 20th century, Bach's music was widely performed and recorded, while the Neue Bachgesellschaft, among others, published research on the composer.  In 1805, Abraham Mendelssohn, who had married one of Itzig's granddaughters, bought a substantial collection of Bach manuscripts that had come down from C. P. E. Bach, and donated it to the Berlin Sing-Akademie. 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