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| Composer : | Bach, Johann Christian (1743 - 1814) | ||||
| Instrumentation : | Flute and Piano | ||||
| Style : | Classical | ||||
| Key : | A major | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 15 Dec 2020 Johann Christian Bach (1735 – 1782) was a German composer of the Classical era, the eighteenth child of Johann Sebastian Bach, and the youngest of his eleven sons. After a spell in Italy, Bach moved to London in 1762, where he became known as "the London Bach". He is also sometimes known as "the English Bach", and during his time spent living in the British capital, he came to be known as John Bach. He is noted for playing a role in influencing the concerto styles of Haydn and Mozart. He contributed significantly to the development of the new sonata principle. Johann Christian Bach was born to Johann Sebastian and Anna Magdalena Bach in Leipzig, Germany. His distinguished father was already 50 at the time of his birth—an age gap exemplified by the sharp differences in the musical styles of father and son. Even so, father Bach instructed Johann Christian in music until his death in 1750. After his father's death, he worked (and lived) with his second-oldest half brother Carl Philipp Emanuel Bach, who was twenty-one years his senior and considered at the time to be the most musically gifted of Bach's sons. Bach lived in Italy for many years starting in 1750, studying with Padre Martini in Bologna. He became organist at the Milan cathedral in 1760. During his time in Italy, he converted from Lutheranism to Catholicism and devoted much time to the composition of church music, including music for a Requiem Mass and a Te Deum. His first major work was a Mass, which received an excellent performance and acclaim in 1757. In 1762, Bach travelled to London to première three operas at the King's Theatre, including Orione on 19 February 1763. In 1764 or 65 the castrato Giusto Fernando Tenducci, who became a close friend, created the title role in his opera Adriano in Siria at King's. That established his reputation in England, and he became music master to Queen Charlotte. In 1766, Bach met soprano Cecilia Grassi, who was eleven years his junior, and married her shortly thereafter. They had no children. J. C. Bach performed symphonies and concertos at the Hanover Square Rooms on the corner of Hanover Square and Hanover Street. This was London’s premier concert venue in the heart of fashionable Mayfair. The surrounding Georgian homes offered well-to-do clientele for his performances. The influence of the "London Bach" upon Mozart is often thought to reside in the former's orchestral and operatic works, which Mozart is known to have studied closely. The little keyboard sonatas recorded here, however, were equally influential. The child Mozart turned two of them (plus a third not included here) into piano concertos, and the patterns found in these works continued to hang in Mozart's mind into his maturity. Consider the impressive Keyboard Sonata in C minor, Op. 17/2, composed in 1772 and 1773, whose emotional path closely parallels that of the Mozart Piano Sonata in C minor, K. 457. The other sonatas here are all in two movements rather than three. Yet not only the sunny mood but also the confident three-part structures of the sonata expositions, with first theme, second theme, and closing theme spelling out a large IV-V-I cadence, sound extremely Mozartian in retrospect. These sonatas were written for Bach's powerful student-patrons, with Queen Consort Charlotte of Mecklenburg at the top of the list, and they have a pleasing combination of sophistication and modest technical demands. The earlier set, Opus 5, was the first British publication to specify either harpsichord or piano. A harpsichord was still the primary choice, but the playing of Russian keyboardist Olga Martynova, while impressive in its precision, is a bit too mechanical for the coquettish spirit of the music. The studio sound from the Russian audiophile label Caro Mitis, however, is, if anything, even beyond the imprint's usual high standard, and the album as a whole is about brilliant surfaces over which the listener slides with pleasure. The detailed and engaging booklet notes by Larisa Kirillina, given in Russian, German, and English, are a bonus. Source: Wikipedia (https://en.wikipedia.org/wiki/Johann_Christian_Bach) Although originally written Piano and Flute or Violin, I created this Arrangement of the Sonata in A Major (Op. 16 No. 4) for Flute & Piano. Sheet central : | Sonates pour clavier (10 sheet music) | | |||
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