section_path: Reception/20th century
section_name: 20th century
paragraph_text: 20th century
  
  During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, as in the promotion of the cello suites by Pablo Casals, the first major performer to record these suites. Leading performers of classical music such as Willem Mengelberg, Edwin Fischer, Georges Enescu, Herbert von Karajan, Helmut Walcha, Wanda Landowska, I Musici, Dietrich Fischer-Dieskau, and recorded his music.
  
  A significant development in the later part of the 20th century was the historically informed performance practice, with forerunners such as Nikolaus Harnoncourt acquiring prominence through their performances of Bach's music. His keyboard music was again performed on the harpsichord and other Baroque instruments rather than on modern pianos and 19th-century romantic organs. Ensembles playing and singing Bach's music not only kept to the instruments and the performance style of his day but were also reduced to the size of the groups Bach used for his performances. But that was far from the only way Bach's music came to the forefront in the 20th century: his music was heard in versions ranging from Ferruccio Busoni 's late romantic piano transcriptions to the orchestrations of Leopold Stokowski, whose interpretation of the Toccata and Fugue in D minor opened Walt Disney 's Fantasia, to jazzy interpretations such as those by The Swingle Singers on their album Jazz Sebastian Bach and electronic performances such as Wendy Carlos ' Switched-On Bach and The Well-Tempered Synthesizer.
  
  Bach's music has influenced other genres. Jazz musicians have adopted Bach's music, with Jacques Loussier, Ian Anderson, Uri Caine, and the Modern Jazz Quartet among those creating jazz versions of his works. Several 20th-century composers referred to Bach or his music, for example Eugène Ysaÿe in Six Sonatas for solo violin, Dmitri Shostakovich in 24 Preludes and Fugues and Heitor Villa-Lobos in Bachianas Brasileiras. All kinds of publications involved Bach: not only were there the Bach Jahrbuch publications of the Neue Bachgesellschaft, but various other biographies and studies by, among others Albert Schweitzer, Charles Sanford Terry, Alfred Dürr, Christoph Wolff. Peter Williams, John Butt, and the 1950 first edition of the Bach-Werke-Verzeichnis; but also books such as Gödel, Escher, Bach put the composer's art in a wider perspective. Bach's music was extensively listened to, performed, broadcast, arranged, adapted, and commented upon in the 1990s. Around 2000, the 250th anniversary of Bach's death, three record companies issued box sets with complete recordings of Bach's music.
  
  Three works by Bach are featured on the Voyager Golden Record, a gramophone record containing a broad sample of the images, sounds, languages, and music of Earth, sent into space with the two Voyager probes. The Bach pieces included are the First Movement of the Brandenburg Concerto No. 2 (conducted by Karl Richter), the "Gavotte en rondeaux" from the Partita for Violin No. 3 (played by Arthur Grumiaux) and the Prelude and Fugue in C, No. 1 from The Well-Tempered Clavier (played by Glenn Gould). Tributes to Bach in the 20th century include statues erected in his honour and a variety of things such as streets and space objects being named after him. Also, a multitude of musical ensembles such as the Bach Aria Group, Deutsche Bachsolisten, Bachchor Stuttgart, and Bach Collegium Japan adopted the composer's name. Bach festivals were held on several continents, and competitions and prizes such as the International Johann Sebastian Bach Competition and the Royal Academy of Music Bach Prize were named after the composer. While by the end of the 19th century, Bach had been inscribed in nationalism and religious revival, the late 20th century saw Bach as the subject of a secularised art-as-religion (Kunstreligion).