Bach the Animated Series – discover the animated series about the life of Johann Sebastian Bach on YouTube.
- Bach Society Brasil
- Apr 29
- 5 min read
Johann Sebastian Bach's music is often described as perfection in sound form. But who was the man behind the musical notes?
To answer this question, Belgian animator Peter Fielding dedicated almost seven years of his life to a monumental and independent project: Bach The Animated Series , available on YouTube.
In this exclusive interview with Bach Society Brazil, Fielding reveals how his personal connection to Bach's work and the challenges of a solitary production shaped a narrative that goes beyond myth, reaching the human Bach, from his early and difficult formative years.
ABOUT THE AUTHOR
Peter Fielding was born in Flanders, Belgium, in 1969, but moved to the Italian mountains in 2010. Away from the hustle and bustle of everyday life, he dedicated himself to his great passions, the main one being J.S. Bach. After considering writing a novel and even producing an audiobook, Fielding found in the animated series the ideal vehicle for his purpose: to humanize the composer and present the man behind the myth to the general public.
Follow the series' Instagram channel: @bach.the.animated.series
Watch the series on YouTube: https://www.youtube.com/@BachTheAnimatedSeries
The origin of the series
Your connection to Johann Sebastian Bach seems to be very personal. Can you share how his music has affected you throughout your life?
Peter: It's a deep connection. Since childhood, influenced by my musician father and the large collection of classical records he had at home, Bach's music has always brought me a very particular sense of clarity and balance. I started studying music theory and piano as a child and always wanted to play Bach because it was the only music that truly stirred my heart and, at the same time, brought me peace. I received my autism diagnosis late in life, and today I understand better why Bach's music affected me so much. It's extremely logical, structured, almost perfect—and that acted as an antidote to the daily avalanche of sensory stimuli. This perception directly influences how I try to construct the narrative of the series. Peter, the animated series about Bach's life is a fascinating project. Could you tell us about how it started and what the production journey has been like so far?
Peter: I started the animated series about seven years ago and completely underestimated the workload, thinking that modern technology would make everything easier. In practice, I ended up taking on practically every step of the process myself, creating the image and sound independently. The series developed from a fictional book I had previously written about the life of Bach, his wives and children, which served as a solid basis for the animation's script.
Did you have any prior training in animation? And how did you develop the visual design of the character Bach?
Peter: I didn't have formal training in animation, although I drew quite a bit as a child. Over time, I realized I needed very concrete references to maintain visual consistency over the years. I ended up using myself as a model: taking selfies to study facial expressions and angles was the most practical solution. Maintaining this visual coherence over almost seven years was one of the biggest technical challenges of the project.
Music is, obviously, central. What are the challenges regarding the series' soundtrack? Peter: That's probably the biggest challenge. I can only use royalty-free recordings or recordings that have been freely given away. This greatly limits the options and often forces me to recreate or perform everything myself. Initially, I tried to solve this digitally, using music creation software, but I soon realized that it simply doesn't sound like a real performance. Every musical choice needs to balance historical accuracy, sound quality, and practical feasibility.
MAKING OF: Follow the animation process of Peter Felding.
The Real Bach: Beyond the Myth
What motivated you to dedicate so much time and effort to Bach's life?
Peter: I always wanted to show people the “real Bach,” not just his music, but who he probably was as a person. Bach is often seen as the most misunderstood of the so-called Big Three of classical music—alongside Mozart and Beethoven. There’s this recurring image of a grumpy, irritable man who threw wigs at musicians. For me, this reputation rests on a superficial reading of very few documentary fragments.
Regarding this character trait, have you found evidence to support a different view of Bach?
Peter: Absolutely. There are many indirect indications. When Bach arrived in Leipzig in 1723, he took responsibility for 55 poor orphaned boys. In less than a year, he managed to prepare them to perform the St. John Passion. This requires not only musical genius but also enormous pedagogical and human skills. Furthermore, letters and accounts from his son Carl Philipp Emanuel Bach describe Bach as an excellent host, someone who kept his house open to musicians and colleagues. This idea of a welcoming and respected Bach completely contradicts the stereotype of the perpetually irritable man.
Reality or fiction?
How do you choose which moments in Bach's life go into the series? Peter: I prioritize documented events. I avoid excessive speculation, but in the periods of Bach's youth, where there is little information, I use imagination supported by historical context. Some dramatizations—such as professional conflicts, travels, or musical reprimands—help to show a human Bach, dealing with real everyday tensions.
Are there any episodes or stories that you consider particularly memorable? Peter: I really like the episode about the supposed competition with Louis Marchand, which mixes historical facts and legends in an almost comical way. I also have a special fondness for episodes that portray historical encounters, such as with Frederick the Great, and for the dramatization of the premiere of the St. Matthew Passion, presented in a context of strong tension and uncertain reception.
What can we expect from the next episodes?
Peter: I'm working on the final episode, which covers Bach's last years. It includes his vision loss due to cataracts, the unsuccessful surgery performed by John Taylor, his brief recovery, the stroke, and his death shortly afterward. I also intend to include epilogues and some extra episodes with stories that didn't make it in, such as the moment when Bach reprimands his son Emanuel for not resolving a dissonant chord.
The Bach Society Brazil is very proud to promote your series and offer the use of our recordings in future episodes.
Peter: I'm speechless and deeply honored. The offer of these recordings, especially those made with period instruments and under such rigorous artistic direction, is extraordinary. This could solve one of the series' biggest challenges, which is precisely the choice and quality of the musical material.
Suggested Episodes
Episode #3 – Arrival in Lüneburg : At 15, Sebastian makes the courageous decision to leave his brother's house to pursue a scholarship in Lüneburg. The episode portrays the culture shock and the need to prove his worth in a new and competitive environment.
Adapting to his new role, Sebastian soon realizes that he underestimated the amount of work and the expectations imposed by the city council.
Follow our bi-weekly series on episodes from Bach's life, inspired by the animated episodes, on the Baroque Blog .
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