{"title":"Johann Christian Bach","authors":"Paul E. Corneilson","doi":"10.1093/obo/9780199757824-0286","DOIUrl":null,"url":null,"abstract":"Johann Christian Bach, the youngest son of Johann Sebastian Bach (b. 1685–d. 1750), was one of the originators of the Classical style, an important composer and concert organizer in London. Born in Leipzig on 5 September 1735, J. C. Bach began his musical training under his father and mother, Anna Magdalena (b. 1701– d. 1760), and continued his studies in Berlin with his half-brother, Carl Philipp Emanuel Bach (b. 1714–d. 1788), after his father died in July 1750. In 1755, J. C. Bach went to Italy, studied with Padre Martini in Bologna, converted to the Roman Catholic faith, and eventually was appointed organist at the Milan Cathedral, where he composed much Latin church music. After receiving commissions for an opera in Turin (Artaserse in 1760) and two operas for the Teatro San Carlo in Naples (Catone in Utica and Alessandro nell’Indie in 1761–1762), J. C. Bach was called to London, where he served as music director at the King’s Theater in 1762–1763 (writing two operas that season, Orione and Zanaida), and he became Music Master to Queen Charlotte. With Carl Friedrich Abel, Bach organized a series of concerts at various locations in London. He continued to write operas and one oratorio for London, plus two operas for Mannheim (Temistocle in 1772 and Lucio Silla in 1775) and one for Paris (Amadis de Gaule in 1779). His keyboard and instrumental music was widely published, and he was admired by the young Mozart, who met him during his visit to London in 1764. J. C. Bach was the most cosmopolitan composer of his family; he maintained a long correspondence with Martini, and his portrait was painted by Thomas Gainsborough for Martini’s extensive collection.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"13 1","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2021-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Computer Music Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/obo/9780199757824-0286","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"COMPUTER SCIENCE, INTERDISCIPLINARY APPLICATIONS","Score":null,"Total":0}
引用次数: 0
Abstract
Johann Christian Bach, the youngest son of Johann Sebastian Bach (b. 1685–d. 1750), was one of the originators of the Classical style, an important composer and concert organizer in London. Born in Leipzig on 5 September 1735, J. C. Bach began his musical training under his father and mother, Anna Magdalena (b. 1701– d. 1760), and continued his studies in Berlin with his half-brother, Carl Philipp Emanuel Bach (b. 1714–d. 1788), after his father died in July 1750. In 1755, J. C. Bach went to Italy, studied with Padre Martini in Bologna, converted to the Roman Catholic faith, and eventually was appointed organist at the Milan Cathedral, where he composed much Latin church music. After receiving commissions for an opera in Turin (Artaserse in 1760) and two operas for the Teatro San Carlo in Naples (Catone in Utica and Alessandro nell’Indie in 1761–1762), J. C. Bach was called to London, where he served as music director at the King’s Theater in 1762–1763 (writing two operas that season, Orione and Zanaida), and he became Music Master to Queen Charlotte. With Carl Friedrich Abel, Bach organized a series of concerts at various locations in London. He continued to write operas and one oratorio for London, plus two operas for Mannheim (Temistocle in 1772 and Lucio Silla in 1775) and one for Paris (Amadis de Gaule in 1779). His keyboard and instrumental music was widely published, and he was admired by the young Mozart, who met him during his visit to London in 1764. J. C. Bach was the most cosmopolitan composer of his family; he maintained a long correspondence with Martini, and his portrait was painted by Thomas Gainsborough for Martini’s extensive collection.
期刊介绍:
Computer Music Journal is published quarterly with an annual sound and video anthology containing curated music¹. For four decades, it has been the leading publication about computer music, concentrating fully on digital sound technology and all musical applications of computers. This makes it an essential resource for musicians, composers, scientists, engineers, computer enthusiasts, and anyone exploring the wonders of computer-generated sound.
Edited by experts in the field and featuring an international advisory board of eminent computer musicians, issues typically include:
In-depth articles on cutting-edge research and developments in technology, methods, and aesthetics of computer music
Reports on products of interest, such as new audio and MIDI software and hardware
Interviews with leading composers of computer music
Announcements of and reports on conferences and courses in the United States and abroad
Publication, event, and recording reviews
Tutorials, letters, and editorials
Numerous graphics, photographs, scores, algorithms, and other illustrations.