00:00 Symphony in D major, Op. 18 Nr. 4, for 2 Flutes, 2 Oboes, 2 Horns, Bassoon, Strings & Basso Continuo: Allegro con spirito - Andante - Rondo: Presto
11:26 Symphony in D major, Op. 18 Nr. 6, for 2 Flutes, 2 Oboes, 2 Horns, Bassoon, Strings & Basso Continuo: Allegro con spirito - Andante - Allegro - Allegro
24:49 Symphony in G minor, Op. 6 Nr. 6, for 2 Oboes, 2 Horns, Bassoon, Strings & Basso Continuo:
Allegro - Andante più tosto adagio - Allegro molto
Collegium Aureum, on original instruments
Flute: Konrad Hünteler, Barthold Kuijken / Baroque Oboe: Hans-Georg Renner, Paul Hailperin
Natural Horn: Heinz Lohan, Horst Ritter / Bassoon: Rainer Mauruschat
Violin: Franzjosef Maier (Konzertmeister), Ulrich Beetz, Marceau Eichstädt, Werner Neuhaus, Gerhard Peters, Jan Reichow, Günter Vollmer
Viola: Heinz-Otto Graf, John Wille / Violoncello: Horst Beckedorf, Rudolf Mandalka
Double Bass: Rolf Schlegel / Harpsichord: Rolf Junghanns
He was - after Handel - the second famous »Saxon« in London. He never did lose his accent entirely, but the witty and gallant man was forgiven who as composer, harpsichordist and teacher understood how to captivate the society of the city on the Thames and who had many friends amongliterati, painters and musicians. Johann Christian Bach had, like Handel, the older »caro Sassone«, come to England by way of Italy. Both had early been lured by the south, both wrote their first operas there, the elder for Rome, the younger for Turin and Naples.
The fifteen-year-old Johann Christian went after his father’s death first to his brother Carl Philipp Emanuel in Berlin in order to deepen the thorough education begun at the Leipzig Thomas School. The Berlin circle, however, to which apart from Philipp Emanuel also the composer Graun as well as the poets Ramler and Gleim belonged, failed to inspire the young Bach. In the mid-1750’s he went to Milan and became music director for the counts of Litta while continuing his studies simultaneously with Italy‘s most famous teacher, the Bolognese Padre Martini, who was to instruct Mozart a few years later. The son of the Thomas cantor not only composed operas fairly successfully, but also became organist at the cathedral in Milan and wrote Latin church music. Then the young Princess Sophie Charlotte von Mecklenburg-Strelitz, spouse of the English King since 1761, sought a German music master. While still in Milan, Johann Christian Bach dedicated an English hymn to her and took over his duties in 1762. His preference for Italian opera was soon supplemented by a series of concerts which he initiated with a gamba player Karl Friedrich Abel. The first of these concerts took place on 29 February 1764. Two months later in London Bach became acquainted with the eight-year-old Mozart, who was allowed to play difficult works prima vista before the Queen, to everyone’s delight.
The two pupils of Padre Martini taught and learned the Italian art of composition for voice in the city on the Thames. Bach’s newly won mastery in orchestral composition, classical instrumentation and the pliant use of the parts made its impressions on the young man of genius from Salzburg. And just as many similarities to the London Bach and often verbatim excerpts can be found in the works of Mozart, so also are concerti and symphonies of Johann Christian Bach filled with »Mozartisms«. Both were successful in adopting the Italian style, which they nonetheless transformed in their individual fashions. The charm of this music makes Johann Sebastian’s son a composer from whom sombre sounds only occasionally escape and whose works only imagine the tragic. These darker sounds appear - albeit playfully - in that symphony in G minor (ca. 1770) which seems related to the famous G minor pieces by Mozart. The driving of the outer movements - hasty and tossed off with a pastel hue, stands out sharply against the pathos of the slow movement.
Негізгі бет Музыка Johann Christian Bach (1735-1782): 3 London Symphonies
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