Johann Christian Bach
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| Johann Christian Bach | ||
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 Johann Christian Bach, painted in London by Thomas Gainsborough, 1776 (Museo Civico, Bologna)
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| Background information | ||
| Birth name | Johann Christian Bach | |
| Born | September 5, 1735 | |
| Origin | Leipzig, Germany | |
| Died | January 1, 1782 London, England |
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| Genre(s) | Classical | |
| Occupation(s) | Composer | |
Johann Christian Bach (September 5, 1735 – January 1, 1782) was a composer of the Classical era, the eleventh and youngest son of Johann Sebastian Bach. He is sometimes referred to 'the London Bach' or 'the English Bach', due to his time spent living there.
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[edit] Life
JC Bach was born in Leipzig, Germany. His father, and possibly also Johann Christian's second cousin Johann Elias Bach, trained young Johann Christian in music. It is believed that Book II of Johann Sebastian’s The Well-Tempered Clavier was written and used for Johann Christian's instruction.[citation needed] Johann Christian served as copyist to his father, and, on the death of his father in 1750, Johann Christian became the pupil of his half-brother Carl Philipp Emanuel Bach in Berlin.
In 1754 JC Bach went to Italy where he studied counterpoint under Giovanni Battista Martini, and from 1760 to 1762 held the post of organist at Milan Cathedral, for which he wrote two Masses, a Requiem, a Te Deum, and other works. Around this time he converted from Lutheranism to Catholicism.
He was the only one of Johann Sebastian's sons to write opera in Italian, starting with arias inserted into the operas of others, then pasticcios. The Teatro Regio in Turin commissioned him to write Artaserse, an opera seria that was premiered in 1760. This led to more opera commissions and offers from Venice and London to compose operas for them. He accepted the London opportunity and travelled there in 1762, and it was to be London where he would spend the rest of his life, much like George Frideric Handel, another composer who decided to make his permanent residence in London 50 years prior. Thus, JC is often referred to as the "London Bach". The Milan Cathedral kept his position open, hoping he would return.
For twenty years he was the most popular musician in England: dramatic works, produced at the King’s theatre, were received with great cordiality.
The first of these, Orione, was one of the first few musical works to use clarinets. His final opera seria, La Clemenza di Scipione (1778), remained popular with London audiences for many years and shows interesting parallels with Mozart's last opera in this genre, La Clemenza di Tito (1791), suggesting the younger composer may have been influenced by the elder's score.[citation needed]
Johann Christian was appointed music master to the Queen, and his duties included giving music lessons to her and her children, and accompaniment on piano, with the King playing flute. JC's concerts, given in partnership with Abel at the Hanover Square rooms, soon became the most fashionable of public entertainments. The most famous musicians in that period participated in those concerts, such as the italian cellist Giovanni Battista Cirri, and many of Haydn's works received their English premiere in the same building.
[edit] Later life and friendship with Mozart
During his first years in London, Bach made friends with the eight-year old Mozart, who was there as part of the endless tours arranged by his father Leopold for the purpose of displaying the child prodigy. Many scholars judge that J. C. Bach was one of the most important influences on Mozart, who learned from him how to produce a brilliant and attractive surface texture in his music. This influence can be seen directly in the opening of Mozart’s piano sonata in B‐flat (KV 315c, the Linz sonata from 1783 – 1784) which very closely resembles that of two sonatas of Bach’s which Mozart would have known; and indirectly in Bach’s attempt in an early sonata (the C minor piano sonata, Op. 5 no. 6) to more effectively combine the galant style of his day with fugal music.
Johann Christian Bach died in poverty in London on the first day of 1782 and was buried in an unmarked pauper's grave at St Pancras Old Church, with his surname being misspelt in the burial register as Back.
Mozart said in a letter to his father that it was "a loss to the musical world." When Mozart had first met J. C. Bach as a young boy, the two were described as "inseparable" by Mozart's father. They would sit at the organ, Mozart on Johann Christian's lap, both playing music for hour upon hour. It is often said by scholars that the music of Mozart was greatly influenced by Johann Christian. This is precisely why, in later years, Mozart would embrace the elder (Johann Sebastian) Bach's music as well. Johann Christian likely influenced the young Mozart in the forms of symphony and piano concerto. The spirit and sound of the young Mozart and J. C's music is remarkably similar. At the time of Bach's death, Mozart was composing his Piano Concerto No. 12 in A Major, K. 414; the Andante second movement of this concerto has a theme close to one found in Bach's La calamità del cuori overture. It has been suggested that Mozart's slow movement was intended as a tribute to JC Bach, his music, and his importance to Mozart's own work.
[edit] Posthumous evaluation
Although Bach's fame declined in the decades following his death, his music still showed up on concert programmes in London with some regularity, often coupled with works by Haydn. In the 19th century, scholarly work on the life and music of Johann Christian's father began, but often this led to exaltation of J.S. Bach's music at the expense of that of his sons; Phillip Spitta claimed towards the end of his J.S. Bach biography that "it is especially in Bach's sons that we may mark the decay of that power which had culminated [in Sebastian] after several centuries of growth" (Spitta, Vol. 3, p. 278), and Sebastian's first biographer, Johann Nikolaus Forkel, said specifically of Christian that "The original spirit of Bach is . . . not to be found in any of his works" (New Bach Reader, p. 458). It was not until the 20th century that scholars and the musical world began to realize that Bach's sons could legitimately compose in a different style than their father without their musical idioms being inferior or debased, and composers like Johann Christian began to receive renewed appreciation.
He is of some historical interest as the first composer who preferred the piano to older keyboard instruments such as the harpsichord. Johann Christian’s early music shows the influence of his older brother Carl Philipp Emanuel, while his middle period in Italy shows the influence of Sammartini.
[edit] Contrasting styles of J. S. Bach and J. C. Bach
Johann Christian Bach's father died when he was fifteen; this may be one reason why it is difficult to find points of obvious comparison between Johann Sebastian Bach and Johann Christian. The piano sonatas of Carl Phillip Emanuel Bach, Johann Christian's brother, tend to invoke certain elements of the father at times, considering that his father died when he had reached the age of 36. The use of counterpoint is especially comparable to that of Johann Sebastian.
Johann Christian's music, however, departs completely from the styles of the elder Bachs - his music is highly melodic and brilliantly structured. He composed in the galant aesthetic, a style encorporating balanced phrases, emphasis on melody and accompaniment, without too much contrapuntal complexity. The galant movement was against the intricate lines of Baroque music, and instead places importance on fluid melodies in periodic phrases. It preceded the classical style, which fused the galant aesthetics with a renewed interest in counterpoint.
[edit] J.C. Bach and the Symphony
The symphonies listed in the Work List for J.C. Bach in the New Grove Bach Family number ninety-one works. A little more than half of these, 48 works, are considered authentic, while the remaining 43 are doubtful or spurious.
By comparison, the composer sometimes called "the Father of the Symphony," Joseph Haydn, only wrote slightly over 100. Most of these are not fully comparable to Johann Christian Bach's symphonies, because many of Bach's works in this category are closer to the Italian sinfonia than to the late classical symphony in its most fully developed state as found in the later works in this category by Haydn and Mozart. Using comparative duration as a rough means of comparison, consider that a standard recording of one of Bach's finest symphonies, Op. 6 no. 6 in g minor, has a total time of 13 minutes and 7 seconds (as performed by Hanover Band directed by Anthony Halstead), while Haydn's "Surprise" Symphony in a typical recording (by Ádám Fischer conducting the Austro-Hungarian Haydn Orchestra) lasts 23 minutes and 43 seconds.
It is clear that the listener of J.C. Bach's symphonies should come to these works with different expectations from the ones he or she brings to those of Haydn or Mozart. Concert halls across America are frequently filled with the music of Haydn, and comparatively rarely with that of J.C. Bach, which probably has less to do with their relative quality (since the music of the latter is clearly accomplished and worthy of being heard) than with their relative historical positions regarding the classical symphony. But J.C. Bach's music is more and more being recognized for its high quality and significance. The Halstead recording mentioned above is part of a complete survey of this composer's orchestral works on 22 CDs for the record label CPO, and the complete works of J.C. Bach have now been published in The Collected Works of Johann Christian Bach.
[edit] Trivia
- A full account of J. C. Bach’s career is given in the fourth volume of Charles Burney's History of Music.
- There are two others named Johann Christian Bach in the Bach family tree, but neither were composers.
[edit] Further reading
- Ernest Warburton, "Johann Christian Bach," in Christoph Wolff et. al., The New Grove Bach Family. NY: Norton, 1983 (ISBN 0-393-30088-9), pp. 315ff..
- Philipp Spitta, Johann Sebastian Bach, trans. Clara Bell & J.A. Fuller-Maitland, NY: Dover, 1951 (reprint of 1889 ed.).
- Christoph Wolff, ed., The New Bach Reader, NY: Norton, 1998.
[edit] External links
- Free scores by Johann Christian Bach in the Werner Icking Music Archive
[edit] References
- This article incorporates text from the Encyclopædia Britannica Eleventh Edition, a publication now in the public domain.
