BACH, Johann Christian (1735-1782) - Suite 'Amadis de Gaule' (1779)

Johann Christian Bach (1735-1782) -: Suite des 'AMADIS | DES GAULES | TRAGEDIE LIRIQUE DE QUINAULT | Reduite En Trois Actes | Dedieé | A Monsieur | DE. CAUMARTIN' (1779), WarB G 39

Performers: hr-Sinfoniеorchеster; Reinhard Goеbеl (conductor)

Drawing: Vijfde blad van de maskerade van de studenten van de Utrechtse hogeschool op 25 juni 1867 voorstellende het bezoek van keizer Maximiliaan van Oostenri

Further info: Johann Christian Bach (1735-1782) - Sinfonia Concertata a più Stromenti Obligati

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Johann Christian (Jean Chrétien) Bach [Pach, Baek]

(Leipzig, 5 September 1735 - London, 1 January 1782)

German composer. The youngest son of Johann Sebastian Bach (1685-1750), he received his earliest musical training from his father and a cousin, Johann Elias Bach. After serving as a secretary to his father the final year of his father’s life, he moved to Berlin in 1750, receiving further instruction from his brother Carl Philipp Emanuel Bach. In 1755 he left for Milan, where he eventually obtained the patronage of Count Agostino Litta. Following study with Padre Giovanni Battista Martini and conversion to Roman Catholicism, he was appointed second organist at the Milan cathedral in 1760. A commission for an opera from the Teatro Regio in Turin the same year, however, altered his fortunes; the work, Cantone in Utica, was a success that led both to commissions throughout Italy and an international reputation as a composer of Italian opera. In 1762 he was invited to London, where he set the opera Orione. Its success and the appointment as Music Master to the Queen allowed him to reside permanently there. A further trip to Paris solidified his ability to publish his music, and, finally, his lodging with compatriot Carl Friedrich Abel resulted in a collaborative concert series beginning in 1764. For the next decade he traveled regularly to Paris where his works were highly esteemed, and in 1772 he was invited to Mannheim to set the opera Temistocle. In 1779 he wrote his first tragédie lyrique for Paris, 'Amadis de Gaule'. Despite the successes, competition with rival concert a difficult economic situation, and ill health led to his early death. Bach can be considered one of the pivotal composers of the age. Unlike his brothers Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach, he fully immersed himself in the Italian style, creating works that feature clear period lyrical themes, solid harmonic foundations, and distinct formal structures. His orchestration, often using obbligato instruments, is colorful, and Bach used various Mannheim orchestral devices to great effect. He was one of the most popular composers of the period, whose music had circulation throughout Europe, influencing a later generation of composers, such as Wolfgang Amadeus Mozart. He was a prolific composer in virtually all genres. His works include 39 operas, three serenatas, an oratorio, seven Mass/Requiem movements, 28 other sacred works, 15 concert arias and cantatas, 45 songs/canzonetts, 34 symphonies, 19 sinfonia concertantes, 28 keyboard concertos, 11 other concertos (violin, flute, oboe, and bassoon), six wind symphonies, 11 marches, a sextet, 13 quintets (string and piano), 20 quartets (string, flute, and piano), 14 trio sonatas, 12 trios (almost all piano trios), 26 violin sonatas, two viola da gamba sonatas, 23 keyboard sonatas (four for keyboard four hands), and numerous miscellaneous pieces for the keyboard and harp. His music has been cataloged according to Terry (T) or Warburton (W or CW) numbers. 

BACH, Johann Christian (1735-1782) - Sinfonia Concertata a più Stromenti

Johann Christian Bach (1735-1782) - Sinfonia Concertata (B-Dur) a più Stromenti Obligati,

WarB C 48, TerB 289/5

Performers: Federico Fοrlа (oboe); Clara Sаwаda (violin); Martin Jantzеn (cello);

Das Neue Mannhеimer Orchester; Anders Muskеns (fortepiano & conductor)

Painting: Jean Démosthène Dugourc (1749-1825) - A party in a Louis XVI interior lit by a candelabra and a torchere, with a couple dancing the minuet

Further info: Johann Christian Bach (1735-1782) - Concerto a 4 voce (1763)

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Johann Christian (Jean Chrétien) Bach [Pach, Baek]

(Leipzig, 5 September 1735 - London, 1 January 1782)

German composer. The youngest son of Johann Sebastian Bach (1685-1750), he received his earliest musical training from his father and a cousin, Johann Elias Bach. After serving as a secretary to his father the final year of his father’s life, he moved to Berlin in 1750, receiving further instruction from his brother Carl Philipp Emanuel Bach. In 1755 he left for Milan, where he eventually obtained the patronage of Count Agostino Litta. Following study with Padre Giovanni Battista Martini and conversion to Roman Catholicism, he was appointed second organist at the Milan cathedral in 1760. A commission for an opera from the Teatro Regio in Turin the same year, however, altered his fortunes; the work, Cantone in Utica, was a success that led both to commissions throughout Italy and an international reputation as a composer of Italian opera. In 1762 he was invited to London, where he set the opera Orione. Its success and the appointment as Music Master to the Queen allowed him to reside permanently there. A further trip to Paris solidified his ability to publish his music, and, finally, his lodging with compatriot Carl Friedrich Abel resulted in a collaborative concert series beginning in 1764. For the next decade he traveled regularly to Paris where his works were highly esteemed, and in 1772 he was invited to Mannheim to set the opera Temistocle. In 1779 he wrote his first tragédie lyrique for Paris, Amadis de Gaule. Despite the successes, competition with rival concert a difficult economic situation, and ill health led to his early death. Bach can be considered one of the pivotal composers of the age. Unlike his brothers Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach, he fully immersed himself in the Italian style, creating works that feature clear period lyrical themes, solid harmonic foundations, and distinct formal structures. His orchestration, often using obbligato instruments, is colorful, and Bach used various Mannheim orchestral devices to great effect. He was one of the most popular composers of the period, whose music had circulation throughout Europe, influencing a later generation of composers, such as Wolfgang Amadeus Mozart. He was a prolific composer in virtually all genres. His works include 39 operas, three serenatas, an oratorio, seven Mass/Requiem movements, 28 other sacred works, 15 concert arias and cantatas, 45 songs/canzonetts, 34 symphonies, 19 sinfonia concertantes, 28 keyboard concertos, 11 other concertos (violin, flute, oboe, and bassoon), six wind symphonies, 11 marches, a sextet, 13 quintets (string and piano), 20 quartets (string, flute, and piano), 14 trio sonatas, 12 trios (almost all piano trios), 26 violin sonatas, two viola da gamba sonatas, 23 keyboard sonatas (four for keyboard four hands), and numerous miscellaneous pieces for the keyboard and harp. His music has been cataloged according to Terry (T) or Warburton (W or CW) numbers.

BACH, Johann Christian (1735-1782) - Concerto a 4 voce (1763)

Johann Christian Bach (1735-1782) - Concerto (B-Dur) a 4 voce, Op.1 (1763), IJB 80

Performers: Maria Kalamkarian (1903-1988, piano); Consortium Musicum

Painting: Jean-Baptiste Charpentier (1728-1806) - The cup of chocolate

Further info: Johann Christian Bach (1735-1782) - Sinfonia (g-moll) a Più Stromenti (1770)

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Johann Christian Bach

(Leipzig, 5 September 1735 - London, 1 January 1782)

German composer. The youngest son of Johann Sebastian Bach, he received his earliest musical training from his father and a cousin, Johann Elias Bach. After serving as a secretary to his father the final year of his father’s life, he moved to Berlin in 1750, receiving further instruction from his brother Carl Philipp Emanuel Bach. In 1755 he left for Milan, where he eventually obtained the patronage of Count Agostino Litta. Following study with Padre Giovanni Battista Martini and conversion to Roman Catholicism, he was appointed second organist at the Milan cathedral in 1760. A commission for an opera from the Teatro Regio in Turin the same year, however, altered his fortunes; the work, Cantone in Utica, was a success that led both to commissions throughout Italy and an international reputation as a composer of Italian opera. In 1762 he was invited to London, where he set the opera Orione. Its success and the appointment as Music Master to the Queen allowed him to reside permanently there. A further trip to Paris solidified his ability to publish his music, and, finally, his lodging with compatriot Carl Friedrich Abel resulted in a collaborative concert series beginning in 1764. For the next decade he traveled regularly to Paris where his works were highly esteemed, and in 1772 he was invited to Mannheim to set the opera Temistocle. In 1779 he wrote his first tragédie lyrique for Paris, Amadis de Gaule. Despite the successes, competition with rival concert a difficult economic situation, and ill health led to his early death. Bach can be considered one of the pivotal composers of the age. Unlike his brothers Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach, he fully immersed himself in the Italian style, creating works that feature clear period lyrical themes, solid harmonic foundations, and distinct formal structures. His orchestration, often using obbligato instruments, is colorful, and Bach used various Mannheim orchestral devices to great effect. He was one of the most popular composers of the period, whose music had circulation throughout Europe, influencing a later generation of composers, such as Wolfgang Amadeus Mozart. He was a prolific composer in virtually all genres. His works include 39 operas, three serenatas, an oratorio, seven Mass/Requiem movements, 28 other sacred works, 15 concert arias and cantatas, 45 songs/canzonetts, 34 symphonies, 19 sinfonia concertantes, 28 keyboard concertos, 11 other concertos (violin, flute, oboe, and bassoon), six wind symphonies, 11 marches, a sextet, 13 quintets (string and piano), 20 quartets (string, flute, and piano), 14 trio sonatas, 12 trios (almost all piano trios), 26 violin sonatas, two viola da gamba sonatas, 23 keyboard sonatas (four for keyboard four hands), and numerous miscellaneous pieces for the keyboard and harp. His music has been cataloged according to Terry (T) or Warburton (W or CW) numbers. 

BACH, Johann Christian (1735-1782) - Sinfonia (g-moll) a Più Stromenti

Johann Christian Bach (1735-1782) - Sinfonia (g-moll) a Più Stromenti (1770)

Performers: Pratum Integrum

Painting: Elias Van Nijmegen (1667-1755) - Baroque Instruments

Further info: Johann Christian Bach (1735-1782) - Symphonien

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Johann Christian Bach

(Leipzig, 5 September 1735 - London, 1 January 1782)

German-English composer of international stature. The youngest son of Johann Sebastian Bach, he received his earliest musical training from his father and a cousin, Johann Elias Bach. After serving as a secretary to his father the final year of his father’s life, he moved to Berlin in 1750, receiving further instruction from his brother Carl Philipp Emanuel Bach. In 1755 he left for Milan, where he eventually obtained the patronage of Count Agostino Litta. Following study with Padre Giovanni Battista Martini and conversion to Roman Catholicism, he was appointed second organist at the Milan cathedral in 1760. A commission for an opera from the Teatro Regio in Turin the same year, however, altered his fortunes; the work, Cantone in Utica, was a success that led both to commissions throughout Italy and an international reputation as a composer of Italian opera. In 1762 he was invited to London, where he set the opera Orione. Its success and the appointment as Music Master to the Queen allowed him to reside permanently there. A further trip to Paris solidified his ability to publish his music, and, finally, his lodging with compatriot Carl Friedrich Abel resulted in a collaborative concert series beginning in 1764. For the next decade he traveled regularly to Paris where his works were highly esteemed, and in 1772 he was invited to Mannheim to set the opera Temistocle. In 1779 he wrote his first tragédie lyrique for Paris, Amadis de Gaule. Despite the successes, competition with rival concert a difficult economic situation, and ill health led to his early death. Bach can be considered one of the pivotal composers of the age. Unlike his brothers Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach, he fully immersed himself in the Italian style, creating works that feature clear period lyrical themes, solid harmonic foundations, and distinct formal structures. His orchestration, often using obbligato instruments, is colorful, and Bach used various Mannheim orchestral devices to great effect. He was one of the most popular composers of the period, whose music had circulation throughout Europe, influencing a later generation of composers, such as Wolfgang Amadeus Mozart. He was a prolific composer in virtually all genres. His works include 39 operas, three serenatas, an oratorio, seven Mass/Requiem movements, 28 other sacred works, 15 concert arias and cantatas, 45 songs/canzonetts, 34 symphonies, 19 sinfonia concertantes, 28 keyboard concertos, 11 other concertos (violin, flute, oboe, and bassoon), six wind symphonies, 11 marches, a sextet, 13 quintets (string and piano), 20 quartets (string, flute, and piano), 14 trio sonatas, 12 trios (almost all piano trios), 26 violin sonatas, two viola da gamba sonatas, 23 keyboard sonatas (four for keyboard four hands), and numerous miscellaneous pieces for the keyboard and harp. His music has been cataloged according to Terry (T) or Warburton (W or CW) numbers.

BACH, Johann Christian (1735-1782) - Symphonien

Obra de John Wootton (c.1682-1764), pintor anglès (1)

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Parlem de Pintura...

John Wootton (Snitterfield, c.1682 - London, 13 de novembre de 1764) va ser un pintor anglès. Promocionat per la Comtessa de Coventry, es va formar en art amb John Wyck qui alhora el va influenciar en les primeres obres les quals van mostrar escenes de guerra i de caceres. A partir del 1700 es creu es va establir a Londres on es va casar dues vegades, el 1706 i el 1716 respectivament. A la capital anglesa es va especialitzar en paisatges i escenes amb animals i va consolidar la seva reputació a partir del 1710. En aquells temps va realitzar nombrosos encàrrecs tant per a famílies nobles com per a la reialesa entre els quals va destacar George II i Frederick de Wales. Les darreres obres van evolucionar clarament vers l'estil neoclàssic emergent i sota influència de Gaspard Dughet. Els darrers anys es va dedicar a vendre les seves obres abans de morir a Londres el novembre de 1764.

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Parlem de Música...

Johann Christian Bach (Leipzig, 5 de setembre de 1735 - London, 1 de gener de 1782) va ser un compositor alemany. Onzè i darrer fill de Johann Sebastian Bach, va rebre les seves primeres lliçons musicals del seu pare. El 1750, després de la mort d'aquest últim, es va traslladar a Berlín per estudiar amb el seu germà Carl Philipp Emanuel Bach. Entre els anys 1754 i 1760 va romandre a Itàlia com a director musical de la cort d'Antonio Litta a Milà. Des del 1760 fins el 1762, va ser organista de la catedral d'aquesta ciutat i va compaginar aquest càrrec amb els seus estudis a Bolonya, sota la tutela del compositor italià Giovanni Battista Martini. El 1762, es va instal·lar a Londres, on va exercir com a professor de la reina. Part del seu èxit es va deure al seu mestratge en la dolça i melòdica òpera italiana, llavors de moda a la capital britànica. Des del 1764 fins a la seva mort va organitzar, juntament amb el compositor alemany establert a Londres Carl Friedrich Abel, una sèrie de concerts molt cèlebres gràcies als compositors que sovint hi participaven. Un d'aquests compositors va ser el nen prodigi de set anys Wolfgang Amadeus Mozart amb qui va compartir una gran amistat i admiració mútua. La música de Johann Christian es va diferenciar de la dels seus germans Wilhelm Friedemann i Carl Philipp ja que va ser més melòdica i d'estructura més brillant. Va compondre en estil galant, el qual es va caracteritzar per un fraseig equilibrat, l'èmfasi en la melodia i l'acompanyament i escassa complexitat en el contrapunt. L'estil galant rebutjava les intrincades línies de la música barroca, estimant-se més les melodies fluides en frases periòdiques. Va precedir l'estil clàssic, que va fusionar l'estil galant amb un renovat interès pel contrapunt. Bach va compondre una dotzena d'òperes, diverses simfonies, concerts, obres per a piano, música de cambra i nombrosa música religiosa. Johann Christian Bach va morir a Londres el gener de 1782.

Herman Moll (1654-1732) - The South Part of Great Britain, called England and Wales (c.1740) (2)

OBRA:
printed works published in London unless otherwise stated

Vocal secular:

Operas:
drammi per musica in 3 acts unless otherwise stated; facsimiles of librettos in CW xliii–xlvii
LCG London, Covent Garden
LKH London, King’s Theatre in the Haymarket

G1 217; xl Artaserse (P. Metastasio), Turin, Regio, 26 Dec 1760, CW i
G2 222; xlii, xliii Catone in Utica (Metastasio), Naples, S Carlo, 4 Nov 1761, CW ii
G3 212; xxxii Alessandro nell’Indie (Metastasio), Naples, S Carlo, 20 Jan 1762, CW iii; staged with his Cantata a tre voci
G4 237; xlvii Orione, ossia Diana vendicata (drama, 3, G.G. Bottarelli), LKH, 19 Feb 1763, CW iv and xii; rev. LKH, 24 May 1777
G5 241; xlix Zanaida (Bottarelli), LKH, 7 May 1763, CW iv and xii
G6 211; xxxi Adriano in Siria (Metastasio), LKH, 26 Jan 1765, CW v
G42 — The Fairy Favour (masque, 1, T. Hull), LCG, 29 Jan 1767, lib CW xlv, music lost [perf. by children as afterpiece]
G7 221; xli Carattaco (Bottarelli), LKH, 14 Feb 1767, CW vi
G8 283/3; xlviii Temistocle (Metastasio, rev. Verazi), Mannheim, Hof, 5 Nov 1772, CW vii
G9 232; xlv Lucio Silla (G. De Gamerra, rev. Verazi), Mannheim, Hof, 5 Nov 1775, CW viii
G10 229; xliv La clemenza di Scipione (serious op, 3), LKH, 4 April 1778, CW ix
G39 215; xxxiii Amadis de Gaule (tragédie lyrique, 3, P. Quinault, rev. A.-D.-M. de Vismes du Valgay), Paris, Opéra, 14 Dec 1779, CW x

Insertions in operas and pasticcios:
G Inc 2 251/4 G. Cocchi: Emira, Milan, Jan 1756: 3 arias; CW xii
G21 252/2 A. Ferradini: Demofoonte, Milan, 26 Dec 1758: 1 aria; CW xii
G23 277/4 F. Gassmann: Gli uccellatori, Turin, Carignano, 1 Sept 1760: ov.; CW xii
G1/3 — Zenobia, Lucca, aut. 1761: 1 aria
G22 275/3 G.B. Lampugnani and others: La Giulia, Milan, carn. 1761: ov.; CW xii
G24 273/2 Il tutore e la pupilla (pasticcio, Bottarelli), LKH, 13 Nov 1762: ov., from Cantata a tre voci with new 2nd movt; CW ix
G25 273/8; l Astarto, re di Tiro (pasticcio, Bottarelli), LKH, 4 Dec 1762: ov., from Alessandro nell’Indie, qt, 2 duets (lost), 5 arias (2 lost); CW ix
G26 273/5 La cascina, (pasticcio, Bottarelli), LKH, 8 Jan 1763: ov.; CW ix
G27 272/5 B. Galuppi and others: La calamita de’ cuori, LKH, 3 Feb 1763: ov.; CW ix
G2/18 — Catone in Utica (pasticcio), Turin, carn. 1763: qt, La
G1/9b, YG12 — G.M. Rutini: Gli sposi in maschera, Florence, aut. 1763: 2 arias, I-Fc
G21, G1/3 — J.A. Hasse, rev. Cafaro: L’Issipile, Naples, 26 Dec 1763: 2 arias, P-La
G Inc 7 244/1 Menalcas (pastoral, J. Harris), Salisbury, 22/24 Aug 1764: 3 arias 2 choruses; CW xxv
G3/19, 22b 225/1; xliii Ezio (pasticcio, after Metastasio), LKH, 24 Nov 1764: 2 arias from Alessandro nell’Indie; CW ix
G2/16 219/3; xli Berenice (pasticcio), LKH, 1 Jan 1765: 3 arias (1 from Catone in Utica, others lost); CW ix
G43 245/3 The Maid of the Mill (pasticcio, I. Bickerstaffe), LCG, 31 Jan 1765: 1 aria, 1 duet; CW xxv
— — Zophilette (pasticcio, J.-F. Marmontel), Paris, 17 May 1765: 2 ariettes (music lost)
G44 246/1 The Summer’s Tale (pasticcio, R. Cumberland), LCG, 6 Dec 1765: 2 arias, 1 duet; CW xxv
G6/20 — Pharnaces, or The Revenge of Athridates (op, T. Hull), Dublin, Smock Alley, 12 Dec 1765: 1 aria; CW xxv
G2/3, 12; G3/18, 21 238/1; xlviii Sifare (pasticcio), LKH, 5 March 1767: 4 arias; CW ix
G7/24, H24, H27 li Tom Jones (pasticcio, J. Reed, after A. Poinsinet, after H. Fielding, LCG, 14 Jan 1769: 3 arias; CW xxv
G2/4 231/2 N. Piccinni: Le contadine bizzarre, LKH, 7 Nov 1769: 1 aria; CW ix
G28 231/3 L’olimpiade (pasticcio, after Metastasio), LKH, 11 Nov 1769: 1 aria; CW ix
G28 256/2 F. Tenducci and others: Amintas (op., R. Rolt), LCG, 15 Dec 1769: 1 aria; CW xxv
G29, LG1 234; xlvi C.W. Gluck and P. Guglielmi: Orfeo ed Euridice, LKH, 7 April 1770: 6 arias (incl. 2 lost), 1 duet (lost), ballet music (lost), chorus (lost), CW ix; 3 arias, added 17 April 1770, ov. t346/8 added 30 April 1771, CW ix; rev. version, Naples, 4 Nov 1774, with new ov., 5 new arias, 5 choruses, ballets, CW xi; draft of discarded scena t251/5, D-Bsb*
LG2 245/2 The Flitch of Bacon (pasticcio, H. Bate), London, New Theatre, Haymarket, 17 Aug 1778: 1 aria; CW xxv
G45 — The Genius of Nonesense (extravaganza, G. Colman), London, New Theatre, Haymarket, 2 Sept 1780: 1 aria, lost

Doubtful arias etc., incl. t250/5, 251/2–3, 252/1, 252/6–7, 253/2–5, 24 others, A-Wgm, Wn; B-Bc; CH-A, E; D-Bsb, Dl, Hs, LEb, LÜh, Mbs, MÜu; DK-Kc; GB-Er; I-Gl, MC, Nc, MAav, Tf, Rc; S-Skma; US-AAu, BEm

Other vocal:
Chamber duets:
H4–11 — [8] duetti (P. Metastasio), S, S, bc, ? before mid-1762: 1 Io lo so; 2 Trova un sol; 3 Che ciascun per te sospiri; 4 Chi mai di questo core; 5 Ascoltami, o Clori; 6 Lascia ch’io posso; 7 Parlami pur; 8 Eccomi alfin [nos. 3, 5, rev. as op.4 nos.5, 6; others different from opp. 4, 6]; CW xvi
H12–17 259/1 Sei canzonette (Metastasio), S, S, bc, op.4 (1765/R): 1 Già la notte; 2 Ah rammenta oh bella Irene; 3 Pur nel sonno almen talora; 4 T’intendo sí, mio core; 5 Che ciascun per te sospiri; 6 Ascoltami, o Clori; CW xvi
H18–23 260/2 Sei canzonette (Metastasio), S, S, bc, op.6 (1767); 1 Torna in quell’onda; 2 Io lo so; 3 E pur fra le tempeste; 4 Trova un sol; 5 Chi mai di questo core; 6 Se infida tu mi chiami; CW xvi

Miscellaneous songs and arias:
G36a — Perchè sì ingrata, S, orch [another version of aria Cara ti lascio; cf G36b]; CW xlviii/3
G36b — Ah che gl’istessi numi … Cara ti lascio, S, orch [cf G36a]; CW xxi
H2 — Der Weise auf dem Lande (O Wald! o Schatten grüner Gänge!), 16 April 1755, in Stammbuch of Friedrich Nicolai; CW xlviii/3
LG5 247/1 Infelice … Là nei regni, S, kbd 4 hands, pubd as A Favourite Scene and Rondo on the Duke of Nivernois Air (c1783); CW xvi, xlviii/3
H1 — Mezendore (Herr Nicolaus Klimm erfand) (F. von Hagedorn), in F.W. Marpurg: Neue Lieder zum singen beym Clavier (Berlin, 1756); CW xlviii/3
G7/24 258/1 The London Lass (While Cecilia we admire), S, bc (c1772), based on Non è ver from Carattaco; CW xxv
G17 252/3 O Venere vezzosa (Horace, trans. G.G. Bottarelli), S, orch; CW xvi
LG4 251/1 Sentimi, non partir … Al mio bene (récit and rondo, after G. Roccaforte), S, pf, 2 vc, orch, as Rondeau … sung by Mr Tenducci at Messrs Bach and Abels Concert (1779); CW xvi
G35 — Sventurata in van mi lagno, S, orch, after 1772; CW xvi
Doubtful: An Aeglen (Und fehlten dir der Schönheit holde Gaben (?Gemmingen) wYH1, in Oden mit Melodien, ii (Berlin, 1755); Farewell ye green fields, S/T, bc (Edinburgh, n.d.) [version of canzonette Ich schlief, da träumte mir], CW xxv; Ist das Leben nicht ein Traum?, D-LÜh; La sorte spietata t251/6, in B. Mengozzi: Méthode du chant du Conservatoire (Paris, 1803); Luci amate a voi non chiedo wYG15 (1777), CW xxv; Neptune (When an angry woman’s breast) t256/3, S/T, bc (c1762), CW xxv; [9] Solfeggi … del Sig. Giovanni Bach in Genova wYH7–15, S, bc, I-Gl; So oft ich meine Tobacks-Pfeife, D-Bsb; The World (When launched into life) (J.M. Perrin), S/T, orch (n.d.), CW xxv

Music for Vauxhall Gardens:
H24–7 254/1 A Collection of Favourite Songs sung at Vaux Hall by Mrs Weichsell (1766/R), S, orch: 1 By my sighs; 2 Cruel Strephon; 3 Come Colin; 4 Ah why shou’d love; CW xxv
H28–31 254/5 A Second Collection of Favourite Songs sung at Vaux Hall by Mrs Pinto and Mrs Weichsell (1767/R), S, orch: 1 In this shady blest retreat; 2 Smiling Venus; 3 Tender virgins [arr. from Non è ver from Carattico, rev. as Blest with thee in Tom Jones (pasticcio, 1769)]; Lovely yet ungratefull swain; CW xxv
H32 — When chilling winter hies away, S, orch, music lost, text pubd (1768)
H33–6 255/2 A Third Collection of Favorite Songs sung at Vaux Hall by Miss Cowper (1771/R), S, orch: 1 Midst silent shades; 2 Ah seek to know; 3 Would you a female heart inspire; 4 Cease a while; CW xxv
H38–9 — A Fourth Collection of Favorite Songs sung at Vauxhall Gardens (1779/R): 1 Oh how blest; 2 Hither turn thy wand’ring eyes; CW xxv
H40 — Ode to Pleasure, S, S, S, T, chorus, orch, music lost, text in A Genuine Collection (London, 1766)
H41 — Ode to Summer, 4 solo vv, chorus, orch, music lost, text in A Genuine Collection (London, 1766)
H42 — The Pastoral Invitation (Ye nymphs and swains), S, S, T, orch, music lost, text in Westminster Journal, 2 July 1768; CW xxv (text only)
H37 257/2 See the kind indulgent gales: a Favourite Song sung by Mrs Weichsell at Vaux Hall Gardens (1777/R), S, orch [Eng. rev. of Se spiegò from Zanaida]; CW xxv

Folksong settings:
LH1 — Braes of Ballanden (Beneath a green shade) (T. Blacklock), A, ob, vn, va, vc, kbd (1779); CW xxv
LH2 257/3 The Broom of Cowdenknows (How blyth was I each morn), A, 2 fl, 2 vn, bc (c1784); CW xxv
LH3 — I’ll never leave thee (One day I heard Mary say) (R. Crawford), A, 2 fl, 2 vn, bc (c1784); CW xxv
LH4 256 Lochaber (Farewell to Lochaber) (A. Ramsay), A, 2 fl, 2 vn, bc (c1785); CW xxv
LH5 — The Yellow-Hair’d Laddie, lost, attrib. Bach in S. Storace: Gli equivoci, 1786, A-Wn; arr. in last movt of pf conc. op.13 no.4

Transcriptions:
LG2 250/2 Ebben si vada … Io ti lascio (after P. Metastasio), acc. recit and rondo, S, pf, orch, pubd as The Favourite Rondeau sung by Mr Tenducci (c1778); ? from cant. Rinaldo ed Armida; expanded version of Ombra felice … Io ti lascio from M. Mortellari: Arsace, 1775; another version, No ’twas neither shape nor feature, in A Flitch of Bacon (1778, London); CW xvi
LG3 251/7 Mi scordo i torti miei … Dolce aurette, S, orch, c1778, recit and aria from G. Gazzaniga: Perseo ed Andromeda with new coda by Bach, D-Bsb, WRgs; CW xvi
— 253/6 Wenn nach der Stürme, aria, S, bc, in J.A. Hiller: Deutsche Arien und Duette (Leipzig, 1785), based on Allor che il vincitore from La clemenza di Scipione

Vocal religiosa:

F2 199/4 Attendite mortales, motet, T, orch, ? after 1767, 1st aria arr. from Carattaco; CW xviii
E17 200/6 Beatus vir (F), S, A, T, B, SATB, orch, 1758; CW xxiii
E16 202/1 Confitebor tibi Domine (E ), S, A, T, B, SATB, orch, 1759; CW xxiii
E5 202/3 Credo (C), SATB, orch; CW xx
E12 202/4 Dies irae; see [Messa de’ morti], below
E15 202/6 Dixit Dominus (D), S, A, T, B, SATB, orch, by March 1758; CW xxiii
E13 203/3 Domine ad adiuvandum (D), S, SATB, orch, 1758; CW xlviii
E14 203/2 Domine ad adiuvandum (G), S, A, SATB, orch, 1760; CW xxii
E3 204/3 Gloria in excelsis (D), S, A, T, B, SATB, orch, 1758/9; CW xix
E4 204/1 Gloria in excelsis (G), S, A, T, B, SATB, orch; CW xx
E2 204/8 Kyrie (D), S, T, SATB, orch; CW xix
F3 205/2 Larvae tremendae (D), motet, S, orch; CW xviii
E18 206/3 Laudate pueri (E), S, orch, Milan, 12 Aug 1758; CW xlviii
E19 206/1 Laudate pueri (G), S, T, orch, 1760; CW xxii
F5 199/1 Let the solemn organs blow (W. Dodd), anthem for Magdalen Chapel, London, c1764;
E7-9206/4 [3] Lezioni del officio per gli morti, 1757: Parce mihi, Domine (B ), S, A, SATB, orch; Taedet animam meam (F), S, A, B, SATB, orch; Manus tuae (C), S, A, T, SATB, orch; CW xxi
E20 207/1 Magnificat (C), SATB, SATB, orch, 1758, inc.; CW xxii
E21 207/2 Magnificat (C), SATB, SATB; CW xxii
E22 207/3 Magnificat (C), S, A, T, B, SATB, orch, 1760; CW xxii
E11–12 208/5, 202/4 [Messa de’ morti], 1757: Requiem aeternam (F), Kyrie (F), SSAATTBB, orch; Dies irae (c), S, A, T, B, SSAATTBB, orch; CW xxi
E10 207/5 Miserere (B ), S, A, T, B, SATB, orch, 1757; CW xxi
F1 — Pater noster, lost, sent with letter to G.B. Martini, 6 Sept 1757
E6 208/4 Regem cui omnia vivunt (F), invitatory, S, A, T, B, SATB, orch, 1757; CW xxi
E23 209/3 Salve regina (E ), S, orch; CW xviii
E24 209/3 Salve regina (F), S, orch; CW xviii
F4a and b 209/5 Si nocte tenebrosa (F), motet, S/T, orch (two versions); CW xviii
E25 210/2 Tantum ergo (F), T, orch, 1757; CW xlviii
E26 209/7 Tantum ergo (G), S, A, T, B, SATB, orch, 1759; CW xxiv
E27 210/3 Te Deum (D), 2S, 2A, 2T, 2B, SATB, SATB, orch, 1758, inc.; CW xxiv
E28 210/5 Te Deum (D), S, A, T, B, SATB, orch, 1762; CW xxiv

Oratorios, cantatas and serenatas:
G Inc 6 244/6 Ode on the Auspicious Arrival and Nuptials of … Queen Charlotte (Thanks to the God who rules the deep) (J.Lockman), S, SAB, vn, bc; CW xxv
G11 — Cant. a 3 voci … per festeggiare il felicissimo giorno natalizio di sua Maestà cattolica, S, S, T, SATB, orch, Naples, S Carlo, 20 Jan 1762; CW xiii
G12 — La Galatea (serenata, after Metastasio), 3vv, orch, London, Spring Gardens, 29 Feb 1764, music lost, lib in CW xlv
D1 226: xliv Gioas, re di Giuda (orat., after Metastasio), London, King’s, 22 March 1770; CW xvii
G41 243/1 Happy morn, auspicious rise! (? birthday ode for George III), S, S, A, T, SATB, SATB, orch [incl. arrs. from Gioas, re di Giuda]; CW xxv
G15 248/3 Endimione (serenata, after Metastasio), S, S, S, T, SATB, orch, London, King’s, 6 April 1772; rev. Mannheim, Hof, 24 July 1773, with scene by N. Jommelli; CW xiv
G16 — La tempesta (cant., Metastasio), S, orch, ? London, Hickford’s Rooms, 17 May 1773, perf. Mannheim, c1776; CW xiii
G18 247/2 Amor vincitore (serenata), S, S, SATB, orch, London, King’s, 15 April 1774; CW xv
G19 li Cefalo e Procri (cant., ? G.G. Bottarelli), S, S, S, orch, London, Hanover Square Rooms, 26 April 1776; recit and aria pubd as Aurora: a Favourite Cantata. t248/1–2; CW xiii
G20 250/2 Rinaldo ed Armida (cant.), 3vv, orch, London, Hanover Square Rooms, 20 May 1778, lost except 1 recit and aria (c1785), A-Wn, B-Bc, D-Bsb, Mbs, F-Pn, GB-Lbl, I-PEsf, Vc
G38 — Berenice che fai! (scena), S, orch, music lost, lib in CW xlv

Doubtful:
YE4 202/7 Domine ad adiuvandum (C), S, SATB, str, GB-Lbl
YE7 — Expugna impugnantes me (d), SSATB, CW xxiv
YE3 — Gloria solenne (C), S, A, T, B, SATB, orch, inc.; CW xxiv
YE5 — Laudate pueri (B ), S, orch; CW xxiv
YE1 204/7 Messa in pastorale (Ky-Gl) (D), SATB, orch, Lbl (attrib. F. Durante)
YE2 204/6 Messa a più voci (Ky-Gl) (G), SATB, orch, Lbl (attrib. Durante)
YE6 208/6 Salve regina (D), S, S, A, T, B, SSATB, orch, Lbl

Instrumental:

Orch.:
Symphonies and overtures:
for 2 oboes, 2 horns and strings unless otherwise stated
G4, 27, 1, 24, 26, 25 272/2 Six Favourite Overtures (1763): ovs. to the operas: 1 Orione (D), 2 ob, 2 hn, 2 bn, str; 2 La calamita de’ cuori (D); 3 Artaserse (D); 4 Il tutore e la pupilla (C); 5 La cascina (G); 6 Astarto (= Alessandro nell’Indie) (G); no.2 in VI sinfonie a più stromenti composte da vari autori op.13 (Paris, 1762); no.3 in VI sinfonie a più stromenti composte da vari autori op.12 (Paris, 1761); arr. kbd (1763)
G23B 277/4 The Periodical Overture no.1 (D) (1763): ov. to Gli uccellatori
C1–6 262/1 Six simphonies (D, C, E , B , F, G), 2 ob/fl, 2 hn, str, op.3 (1765), =w C1a–6a, CW xxvi; arr. Bach as Six Overtures Composed and Adapted for the Harpsichord (c1769), =wC1b–6b, t347/2, CW xlii
G22B 275/3 An Overture in 8 parts (D) (1766); corrected version of Periodical Overture no.xv (1766): ov. to La Giulia
C16a 276/3 Symphony (C), as no.46 in Sinfonie a più stromenti composte da vari autori (Paris, 1770/71), CW xxvii; with different 2nd and 3rd movts wC16b, CW xxix
C7–12 264/1 Six simphonies (G, D, E , B , E , g), 2 ob/fl, 2 hn, str, op.6 (Amsterdam, 1770); nos.3–5 in Six simphonies périodiques op.8 nos.1, 5, 6; CW xxvi–xxvii
C9, 13–15, 10–11 266/5 Six simphonies périodiques (E , G, D, F, B , E ), 2 ob/fl, 2 hn, str, op.8 (Amsterdam, c1775); nos.1, 5, 6 = op.6 nos.3–5; CW xxvi–xxvii
C17–19 268/3 Trois simphonies (B , E , B ), 2 ob/fl, 2 hn, str, op.9 (The Hague, 1773) [also as op.21]; no.1, 2 cl, 2 bn, 2 hn, str, in Six sinfoni … par J.C. Bach, Toesky et Stamitz (Paris, 1773); no.2 with addl movt (Paris, ?1776); 2 movts from no.2 arr. kbd in J.A. Hiller: Sammlung kleiner Clavier- und Singstücke (Leipzig, 1774), ed. S. Staral (Graz, 1981); no.1 ed. in EDM, 1st ser., xxx (1956); CW xxvii (nos.1 and 2), iv (no.3)
C26, G9, G15, C27, C28, XC1 269/4 Six Grand Overtures (E , B , D, D, E, D), 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str, op.18 (c1782); nos.1, 3, 5 for double orch (2 ob, bn, 2 hn, str; 2 fl, str); no.1, I-Gl [dated 1779]; no.2 = ov. to Lucio Silla; no.3 = ov. to Endimione; no.4 = no.2 of t271/6, Deux sinfonies op.18; 2nd movt of no.4 = arr. of 2nd movt of ov. to Temistocle; no.6 arr. from Amadis de Gaule; CW xxviii
XC2, C27 271/6 Deux sinfonies à grand orchestre (D, D), 2 fl, 2 ob, 2 bn, 2 hn, str, op.18 (Amsterdam, c1785); 1st movt of no.1 = ov. to La clemenza di Scipione, 2nd movt = Andante from ov. to Amadis de Gaule; no.2 = no.4 of t269/4, Six Grand Overtures op.18; CW xxviii
G27a — Sym. (D) (inc., = ov. to La calamita de’ cuori with different finale), CW xxix; Sym. (D), 2 ob/fl, 2 hn, str, CW xxix
G27b — Sym. (D), 2 ob/fl, 2 hn, str, CW xxix
— 279/4 Sym. (F), CW xxix
C Inc 4 279/7 Sym. (F), 2 ob, 2 hn/tpt, str, CH-A, Bu, E, I-MAav; CW xxix
C Inc 3 282/5 Sym. (E ), as Divertimento notturno (Paris, before 1775); CW xxvii
C84 361/7 Menuett (F), for Her Majesty’s birthday, 1767; CW xxv
C85 361/8 Menuett (C), for Her Majesty’s birthday, 1769; CW xxv
Lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790): Sym. in 6 pts, before 1755; ov. in 6 pts, before 1755
for doubtful and misattributed works see wYC1–83

Symphonies concertantes:
instruments listed as concertante; ripieno
C32 284/1 Sinfonia concertante (G), 2 vn, vc; 2 fl, 2 hn, str, ?c1760 (Paris, by 1772); CW xxx
C33 284/6 Concert ou symphonie (E ). 2 vn, ob; 2 fl, cl, bn, 2 hn, str (Paris, 1773); CW xxx [also as pf conc., wC75, t300/8]
C34 284/4 Simphonie concertante (A), vn, vc; 2 ob, 2 hn, str (Paris, by 1775); CW xxx
C36a 286/1 Sym. conc. (C), 2 vn, vc; 2 fl, 2 ob, 2 hn, str, CW xlviii/3; rev. version w C36b, CW xxx
C45 286/4 Sym. conc. (G), ob, vn, va, vc; 2 fl, 2 hn, str
C Inc 5 — Sym. conc. (G), fl, 2 vn, vc; fl, 2 hn, str, doubtful; CW xxx
C44 286/8 Sym. conc. (E), fl, 2 vn, vc; 2 ob, 2 hn, str, by 1775; CW xxx
C38 287/2 Sym. conc. (F), ob, bn/vc; ob, 2 hn, str; CW xxxi
C46 287/7 Sym. conc. (B ), vc; 2 cl, bn, 2 hn, str; CW xlviii/3 formerly D-Bsb (see White, 1958)
C42 288/4 Sym. conc. (E ), 2 vn, vc; 2 ob, 2 hn, str; CW xxx [also as bn conc., wC82, t288/4]
C40 288/7 Notturno (E ), 2 ob, 2 hn/tpt, 2 vn, 2 va, vc; str; CW xxxi
C43 289/4 Sym. conc. (C), fl, ob, vn, vc; 2 fl, 2 cl, 2 bn, 2 hn, str; CW xxxi
C48 289/7 Sym. conc. (B ), ob, vn, vc, pf; 2 fl, 2 hn, str; CW xxxi
C39 290/2 Sym. conc. (D), 2 fl, 2 vn, vc; 2 hn, str, c1760; CW xxxi
C37 290/4 Sym. conc. (E ), fl, ob, bn; ob, 2 hn, str; CW xxxi
C41 290/9 Sym. conc. (E ), fl, 2 cl, bn, 2 hn; 1/2 fl, str; CW xxxi
C35 — Concerto a più istrumenti (D), 2 vn; 2 ob/fl, 2 hn, str, ?doubtful; CW xxx
YC95 — Sym. (B ), vn, vc (ad lib); 2 ob (ad lib), 2 hn, str, I-MAav, attrib. J.C. Bach in Breitkopf suppl. 1767, doubtful; probably by F.P. Ricci, op.9 no.2 (The Hague, London and Paris, c1775)

Concertos:
C74 — Conc., hpd, before 1755, lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790)
C68–72 298/1 5 concs. (B , f, d, E, G), kbd, str; CW xxxii
C73 301/4 Conc. (f), hpd, str, CW xxxii
C77 — Conc, vc, before 1755, lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790)
C49–54 292/1 Six Concertos (B , A, F, G, C, D), hpd, str, op.1 (1763); CW xxxiii
C79 286/7 Conc. (D), fl, 2 hn, str; CW xxxvi
C55–60 293/4 Sei concerti (C, F, D, B , E , G), hpd/pf, str, op.7 (1770); CW xxxiii–xxxiv [cadenzas for no.5 and expanded solo pt of no.6, private collection, USA]
C62–7 295/1 A Third Sett of Six Concertos (C, D, F, B , G, E ), hpd/pf, str (2 ob, 2 hn ad lib), op.13 (1777); CW xxxv
C75 300/8 Conc. (E ), kbd, 2 fl, 2 cl, bn, 2 hn, str; CW xxxiv [also as sym. conc., wC42 t284/6]
C61 301/1 Conc. (E ), hpd/pf, str (2 hn ad lib), as op.14 no.1 (Paris, c1776); CW xxxiv
C80 287/4 Conc. (F), ob, 2 hn, str; CW xxxvi [also as fl conc. (G)wC78, private collection, USA]
C81 290/7 Conc. (F), ob, 2 hn, str; CW xxxvi
C83 288/1 Conc., (B ), bn, 2 ob, 2 hn, str; CW xxxvi
C82 288/4 Conc., (E ), bn, 2 ob, 2 hn, str; CW xxxvi [also as sym. conc., wC42 t288/4]
C76 — Conc. (C), vn, 2 ob/fl, 2 hn, str; CW xlviii/3

Doubtful:
YC90–91 297/1 [2] Concerto (E , A), hpd, str (Riga, c1776), attrib. ‘I.C. Bach’, Breitkopf suppl. 1776–7, also attrib. C.P.E. Bach and J.C.F. Bach; no.1 ed. E. Praetorius (1937), no.2 ed. in Antiqua (1935)
YC92 300/1 Conc. (A), hpd, str, Bsb [? by C.P.E. Bach; also attrib. Schaffrath and C.H. or J.G. Graun]; ed. A. Hoffmann (Wolfenbüttel, 1963)
C Inc 6 300/4 Conc. (E), hpd, str, Dl

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Chamber music:
B78 302/1 Sestetto (C), ob, 2 hn, vn, vc, kbd; CW xli [arr. kbd, vn in Three Favorite Quartetts and One Quintett (1785), = t311/3]
B Inc 5 305/1 Quintet (B ), 2 vn/ob, va, vc/bn, bc; CW xli
B70–75 303/1 Six Quintettos (C, G, F, E , A, D), fl, ob, vn, va, bc, op.11 (1774); CW xli
B76–7 304/6 Deux quintetts (D, F), op.22 (1785), fl, ob, vn, vc, kbd; CW xli [arr. kbd, vn in Three Favorite Quartetts and One Quintett (1785) = t311/2, 4]
B51–6 306/1 Six Quartettos (C, D, E , F, G, B ), fl, vn, va, vc, op.8 (1772); CW xl
B57–9 309/1 3 qts (D, C, A), fl/vn, vn, va, bc, nos.1, 3, 5 in Six Quartettos … by Messrs Bach, Abel and Giardini (1776); CW xl
B60 — Qt (B ), 2 vn, va, vc, no.1 in Six Quatuors … par J.C. Bach et C.F. Abel, op.14 (Paris, 1776); CW xl [also arr. eng hn, vn, va, vc, I-Gl; erroneously attrib. Haydn, hII:B4]
B66 310/9 Quartetto (G), vn, 2 vc, hpd, op.2 (Offenbach, 1783); CW xl [arr. hpd, vn in Three Favorite Quartetts and One Quintett (1785) = t311/5]
B61–4 307/4 Four Quartettos (C, D, G, C), op.19 (1784): nos. 1, 3, for 2 fl, va, vc; no.2 for fl, ob/fl, va, vc; no.4 for 2 fl, vn; CW xl [arr. hpd/pf, vn, fl, vc (c1787)]
B30–35 314/5 Six Trios (B , A, E , G, D, C), 2 vn, va/bc, op.2 (1763), also as op.4 (Amsterdam, 1767), in Breitkopf suppl. 1766 as first 6 of set of 12 (see also t317/5); CW xxxix
B36–41 317/5 6 trios (G, D, E, F, B , E ), 2 vn, bc, in Breitkopf suppl. 1766 as second 6 of set of 12 (see also t314/5); CW xxxix
B43–8 313/1 Six sonates (F, G, D, C, D, E ), hpd, vn/fl, vc, op.2 (1764); CW xxxix
B42 311/6 Sonata (B ), 2 vn, vc, no.1 in Six Sonatas … by Messrs Bach, Abel and Kammel (1777); CW xxxix
B49–50 323/5 2 sonatas (C, A), hpd/pf, vn, vc, nos.1–2 in Four Sonatas and Two Duetts op.15 (1778); CW xxxix
B Inc 3 330/5 Sonata (B ), harp, (vn, vc)/hpd, no.6 in Musical Remains, ed. E. Jones (c1796) [1st movt based on 1st movt of wB78; CW xxxix
B Inc 2 317/7 Trio sonata (G), 2 fl/vn, bc; CW xxxix
B20–26 332/4 [7] sonatas (F, D, G, A, G, D, F), hpd, vn; CW xxxviii
B27 — Sonata (A), hpd, vn; CW xxxviii
B2–7 322/1 Six Sonatas (B , C, G, A, F, D), hpd/pf, vn, op.10 (1773), also for 2 vn, va, bc, op.17 (Paris, c1779); CW xxxviii [nos.1, 3, 5 arr. kbd, va da gamba, private collection, USA]
B8–9 324/2 2 sonatas (D, B ), hpd/pf, vn, nos.3–4 in Four Sonatas and Two Duetts op.15 (1778); CW xxxviii
B10–15 325/1 Six Sonatas (D, G, C, A, D, F), hpd/pf, vn/fl, op.16 (1779/R); CW xxxviii [other versions of no.6, private collection, USA, and CW xlviii/3]
B16–19 326/3 4 sonatas (C, D, E , G), hpd/pf, vn/fl, nos.1–4 in Four Sonatas and Two Duetts op.18 (c1781); CW xxxviii
— — Sonata (F), hpd, va da gamba, private collection, USA [1st movt from op.10 no.5, 2nd movt from ob conc. wB80, t287/6

Wind music:
see Sadie for information on borrowed material and transcriptions
B Inc 7–12 285/3 Sei sinfonie (E , B , E , B , E , B ), 2 cl, 2 hn, [2] bn (1782); CW xxxvii
B79–82 — Military Pieces [Quintette] (E , E , B , B ), 2 cl, 2 hn, bn (Dublin, c1794); CW xxxvii
B83–5 359/3 3 military marches: Marche du régiment de Prince Ernst; Marche du régiment de Braun[schweig]; Marche du régiment de Wür[tte]mb[erg], all in E , 2 ob, 2 hn, bn; CW xxxvii [nos.2–3 arr. kbd, GB-Lbl (part autograph)]
B88–9 360/1 2 Märsche … vom ersten … zweiten Batallion Garde-Regiment in Hannover (E , E ) 2 ob, 2 cl, 2 hn, 2 bn, no.2 spurious, by Abel, Lbl (part autograph); CW xxxvii
B86–7 360/5 Due marce … di cavalleria e d’infanteria (E , E ), 2 ob, 2 cl, 2 hn, bn; CW xxxvii [also arr. kbd, Lbl (part autograph)]
B90–93 361/2 4 marches (E , E , E , B ); CW xxxvii [also arr. kbd, Lbl (part autograph)
YB85–6 360/3 Due marce … Prince Walles (E , E ), 2 cl, 2 hn, bn; spurious, by C.F. Abel

Keyboard:
for harpsichord unless otherwise stated
A22 — Untitled piece [March]bwv Anh.131, in Clavierbüchlein for Anna Magdalena Bach; CW xlviii/3
A23–31 — 6 minuets (c, C, d, g, C, C), 2 polonaises (B , E ), aria (a), c1750; CW xlii
A13 358/4 Solo (a), ? before 1755; CW xlii
A14 — Sonata (A ), I-Bc, Mc, MC; CW xlii
A16 — Sonata (B ), Bc; CW xlii
A15 — Toccata (b ), Bc, Mc, MC (as Sonata); CW xlii, xlviii/3 (2 versions)
A1–6 338/1 Six Sonatas (B , D, G, E , E, c), hpd/pf, op.5 (1766/R); CW xlii
C1b–6b 347/2 Six simphonies (D, C, E , B , F, G), op.3 (1769); CW xlii [see ‘Symphonies and overtures’]
A10b — A New Lesson (G), hpd/pf (1772) [early versions of movts from op.17 nos.4 and 1]
A21, 18 340/5 2 duets (G, C): 1 for 2 hpd/pf, 1 for hpd/pf 4 hands, in Four Sonatas and Two Duetts op.15 (1778); CW xlii
A7–12 341/1 Six Sonatas (G, c, E , G, A, B ), hpd/pf, op.17 (1779/R), previously pubd as op.12 (Paris, 1773/4), CW xlii; other versions of nos.2–3, CW xlviii/3; see also A New Lesson, above
A19–20 343/3 2 duets (A, F), hpd/pf 4 hands, in Four Sonatas and Two Duetts op.18 (1781); CW xlii
— — 2 marches (A, C), GB-Lbl (part autograph)

Doubtful:
4 canzonette (F, E , G, B ), 2 vn, t336/6, arr. of Sei canzonette op.6 nos.1, 4, 3, 2;
2 qts (F, C), fl/vn, va, vc, in L’anné musicale (Liège, 1776);
Qt (F), fl/vn, vn, va, vc I-Rdp; 2 qt (F, D), fl/vn, vn, va, vc, Gl;
Sonata (C), gui, vn (c1770), CW xxxviii;
Six Sonatas (C, G, D, A, E , B ), hpd/pf, vn/fl, op.19 (1783), t327/5;
Three [= 6] Sonatas [i, ii] (C, D, F, G, A, B ), hpd/pf, vn, op.20 (c1785), t329/1;
Trois sonates (E , B , D), hpd/pf, vn, op.21 (Paris, c1784), t344/2;
Sonata (F), hpd, fl, D-Bsb (2 copies: 1 attrib J.C. Bach, 1 attrib. C.P.E. Bach), US-Wc (attrib. ‘Sigr. Bach’), also attrib. W.F. Bach, ed. K. Marguerre (Celle, 1960), t332/1;
Sonata (D), vn, bc, D-Bsb, ?lost, t3323/5;
3 sonatas (D, G, C), fl, vn, A-Wn, t337/1;
Sonata (C), hpd/of, vn, in The Feast of Apollo (1788), t352/2;
Trio sonata (F), 2 vn, bc, lost, formerly D-Bsb, t318/8; for others see wYB1–86

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Informació addicional... 

INTERPRETS: Lukas-Consort
RECICLASSICAT: BACH, Johann Christian (1735-1782)
AMAZON: BACH, J.C. - Symphonien und Konzerte
IMSLP: Johann Christian Bach (1735-1782)

CPDL: No disponible

SPOTIFY: BACH, J.C. - Symphonien und Konzerte



Tant si us ha agradat, com si no, opineu, és lliure i fàcil!

BACH, Johann Christian (1735-1782) - Vesperpsalmen

Obra de Francesco Guardi (1712-1793), pintor italià (1)

- Recordatori de Johann Christian Bach -

En el dia de la commemoració del seu 231è aniversari de decés

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Parlem de Pintura...

Francesco Lazzaro Guardi (5 d'octubre de 1712 - 1 de gener de 1793) va ser un pintor italià de l'escola veneciana de pintura. Va néixer en el sí d'una família d'artistes i es va formar al taller familiar, marc en el qual es va desenvolupar també tota la primera part de la seva carrera artística, en col·laboració amb el seu germà Giovanni Antonio. En aquesta època no li va ser possible crear un estil propi, ja que es va veure obligat a posar els seus dots creatius al servei dels nombrosos encàrrecs que arribaven al taller i no va poder donar curs a la seva inventiva. La primera mostra del seu geni la constitueixen les Escenes de la vida de Tobies, pintades per l'església de Sant Rafael de Venècia. Encara que els crítics discrepen sobre si aquests quadres són obra seva o del seu germà Giovanni Antonio, per la mestria de la realització i el caràcter evanescent dels fons sembla més probable que es deguin a Francesco, qui molt poc després va manifestar uns dots extraordinaris per al paisatge. En efecte, el 1760, a la mort del seu germà, va abandonar els encàrrecs del taller familiar per dedicar-se en exclusiva a un gènere, el de la veduta, que estava en aquells dies en ple floriment gràcies a Canaletto i alguns altres artistes. Segurament, era aquesta la vocació de Guardi des dels inicis, i a ella es va lliurar, al principi com a seguidor dels passos del realisme a ultrança de Canaletto. Però no va trigar a emprendre el seu propi camí, amb obres en què la llibertat del traç i el caràcter envoltant de l'atmosfera creen un ambient més aviat irreal. Aquestes realitzacions (majoritàriament vistes de Venècia) i no les de la primera època són les que defineixen la personalitat artística de Guardi, el geni, però, no va ser reconegut fins a l'aparició dels impressionistes. Encara complimentar encàrrecs de la República de Venècia, amb la finalitat d'immortalitzar les festes celebrats amb motiu de la visita a la ciutat de personalitats rellevants, en el seu temps no va ser un pintor massa valorat, i va morir en la pobresa.

Font: En català: Francesco Guardi (1712-1793) - En castellano: Francesco Guardi (1712-1793) - In english: Francesco Guardi (1712-1793) - Altres: Francesco Guardi (1712-1793)

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Parlem de Música...

Johann Christian Bach (Leipzig, 5 de setembre de 1735 - Londres, 1 de gener de 1782) va ser un compositor alemany del període clàssic, onzè i darrer fill de Johann Sebastian Bach. Va néixer a Leipzig i va rebre les seves primeres lliçons musicals del seu pare. El 1750, després de la mort d'aquest últim, es va traslladar a Berlín per estudiar amb el seu germà Carl Philipp Emanuel Bach. Entre els anys 1754 i 1760 va romandre a Itàlia com a director musical de la cort d'Antonio Litta a Milà. Des del 1760 fins el 1762, va ser organista de la catedral d'aquesta ciutat i va compaginar aquest càrrec amb els seus estudis a Bolonya, sota la tutela del compositor italià Giovanni Battista Martini. El 1762, Johann Christian Bach es va instal·lar a Londres, on va exercir com a professor de la reina. Part del seu èxit es va deure al seu mestratge en la dolça i melòdica òpera italiana, llavors de moda a la capital britànica. Des del 1764 fins a la seva mort va organitzar, juntament amb el compositor alemany establert a Londres Carl Friedrich Abel, una sèrie de concerts molt cèlebres gràcies als compositors que sovint hi participaven. Un d'aquests compositors va ser el nen prodigi de set anys Wolfgang Amadeus Mozart amb qui va compartir una gran amistat i admiració mútua. La música de Johann Christian es diferencia de la dels seus germans Wilhelm Friedemann i Carl Philipp ja que és més melòdica i brillantment estructurada. Va compondre en estil galant, un estil que es caracteritzava per les frases equilibrades, l'èmfasi en la melodia i l'acompanyament, sense massa complexitat en el contrapunt. L'estil galant rebutjava les intrincades línies de la música barroca, estimant-se més les melodies fluides en frases periòdiques. Va precedir l'estil clàssic, que va fusionar l'estil galant amb un renovat interès pel contrapunt. Bach va compondre una dotzena d'òperes, diverses simfonies, concerts, obres per a piano, música de cambra i nombrosa música religiosa.

Font: En català: Johann Christian Bach (1735-1782) - En castellano: Johann Christian Bach (1735-1782) - In english: Johann Christian Bach (1735-1782) - Altres: Johann Christian Bach (1735-1782)

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Parlem amb veu pròpia...

En el primer dia de l'any 2014, any en què, entre altres, celebrarem els 300 aniversaris de Carl Philipp Emanuel Bach i de Gottfried August Homilius, recuperarem a un dels Bach més internacionals, aquell qui tothom coneix amb el sobrenom del "Bach londinenc" però que, no obstant i en relació a la música d'avui, hauríem de posar-li també l'etiqueta del "Bach milanès" ja que fou en la seva estada a Itàlia, concretament com a organista de l'esplèndida Catedral de Milà, on haurem de situar i contextualitzar històricament l'apoteòsica música religiosa d'aquest primer de gener de 2014. A diferència dels seus germans majors, el cert és que la presència de Johann Christian Bach als escenaris és testimonial. Per sort, la seva discografia viu en l'abundància i en la qualitat més brillant ja que, entre molts altres, l'exemple d'avui en dóna fe. En aquesta edició que tenim entre mans, d'un Johann Christian Bach convertit al catolicisme, trencant així la tradició protestant de la família Bach, podrem escoltar obres escrites en la seva breu estada a Milà, sota supervisió teòrica i pràctica del gran mestre de mestres clàssics, el Pare Martini, i amb una marcada tendència musical de perfil teatral. De fet, no ens ha de sorprendre ja que el més petit dels Bach, com molts altres compositors de l'època, va escriure una trentena d'òperes. D'entrada, en una primera recuperació mundial, el salm Domine ad adiuvandum per a veus solistes, cor i orquestra. Una petita meravella introductòria del salm Beatus Vir per a veus solistes, cor i orquestra. Òpera en estat pur si no fos pel text llatí que englobarem catòlicament en els vespres. Els salms es divideixen en les seccions pròpies del text bíblic i en funció d'aquests hi tenen més preponderància els cors, les veus solistes o la conjunció d'ambdós. L'edició i la interpretació, sota el paraigües del magnífic segell Carus-Verlag, és una meravella en tots els sentits. La orquestra, amb una secció de vents sensacional, s'expressa fresca, virtuosa i francament bona. Pel que fa a la veus, només podem aplaudir amb vehemència. Deixem-nos captivar per aquest recull d'obres mestres de Johann Christian Bach que de la millor manera possible ens invitaran a donar la benvinguda al 2014!

Gaudiu i compartiu! 

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Informació addicional...

INTÈRPRETS: Joanne Lunn (soprano); Georg Poplutz (tenor); Elena Biscuola (alto); Thomas E. Bauer (baríton); Concerto Koln; South German Chamber Choir; Gerhard Jenemann (conductor)
RECICLASSICAT: BACH, Johann Christian (1735-1782)
CARUS-VERLAG: Johann Christian Bach: Mailänder Vesperpsalmen 
IMSLP: Johann Christian Bach (1735-1782)

CPDL: No disponible

SPOTIFY: Bible - Old Testament – Bach: Mailander Vesperpsalmen

Tant si us ha agradat, com si no, opineu, és lliure i fàcil!