Fortepiano designates the early version of the piano, from its invention by the Italian instrument maker Bartolomeo Cristofori around 1700 up to the early 19th century. It was the instrument for which Haydn, Mozart, and the early Beethoven wrote their piano music. Starting in Beethoven's time, the fortepiano began a period of steady evolution, culminating in the late 19th century with the modern grand. The earlier fortepiano became obsolete and was absent from the musical scene for many decades. In the 20th century the fortepiano was revived, following the rise of interest in historically informed performance. Fortepianos are built for this purpose today in specialist workshops.

Construction

The fortepiano has leather-covered hammers and thin, harpsichord-like strings. It has a much lighter case construction than the modern piano and, except for later examples of the early nineteenth century (already evolving towards the modern piano), it has no metal frame or bracing. The action and hammers are lighter, giving rise to a much lighter touch, which in good fortepianos is also very responsive.

The range of the fortepiano was about four octaves at the time of its invention and gradually increased. Mozart (1756–1791) wrote his piano music for instruments of about five octaves. The piano works of Beethoven (1770–1827) reflect a gradually expanding range; his last piano compositions are for an instrument of about six octaves. (The range of most modern pianos, attained in the 19th century, is 7⅓ octaves.)

Fortepianos from the start had devices similar to the pedals of modern pianos, but these were not always pedals; sometimes hand stops or knee levers were used instead.

Sound

Like the modern piano, the fortepiano can vary the sound volume of each note, depending on the player's touch. The tone of the fortepiano is quite different from that of the modern piano however, being softer with less sustain. Sforzando accents tend to stand out more than on the modern piano, as they differ from softer notes in timbre as well as volume, and decay rapidly.

Fortepianos also tend to have quite different tone quality in their different registers — noble and slightly buzzing in the bass, "tinkling" in the high treble, and more rounded (closest to the modern piano) in the mid range. In comparison, modern pianos are rather more uniform in sound through their range.

History

Cristofori

What we now call the fortepiano was invented by harpsichord maker Bartolomeo Cristofori in Florence around the turn of the 18th century. The first reliable record of a fortepiano appears in the inventory of the Medici family (who were Cristofori's patrons), dated 1700. Cristofori continued to develop the instrument until the 1720s, the time from which the surviving three Cristofori instruments date.

Cristofori is perhaps best admired today for his ingenious fortepiano action, which in some ways was more subtle and effective than that of many later instruments. However, other innovations were also needed to make the fortepiano possible. Merely attaching the Cristofori action to a harpsichord would have produced a very weak tone. Cristofori's instruments instead used thicker, tenser strings, mounted on a frame considerably more robust than that of contemporary harpsichords. As with all later pianos, in Cristofori's instruments the hammers struck more than one string at a time; Cristofori used pairs of strings throughout the range.

Cristofori was also the first to incorporate a form of soft pedal into a piano (the mechanism by which the hammers are made to strike fewer than the maximum number of strings; Cristofori's was a hand stop). It is not clear whether the modern soft pedal descends directly from Cristofori's work or arose independently.

Cristofori's invention soon attracted public attention as the result of a journal article written by Scipione Maffei and published 1711 in ''Giornale de'letterati d'Italia'' of Venice. The article included a diagram of the action, the core of Cristofori's invention. This article was republished 1719 in a volume of Maffei's work, and then in a German translation (1725) in Johann Mattheson's ''Critica Musica''. The latter publication was perhaps the triggering event in the spread of the fortepiano to German-speaking countries (see below).

Cristofori's instrument spread at first quite slowly, probably because, being more elaborate and harder to build than a harpsichord, it was very expensive. For a time, the fortepiano was the instrument of royalty, with Cristofori-built or -styled instruments played in the courts of Portugal and Spain. Several were owned by Queen Maria Barbara of Spain, who was the pupil of the composer Domenico Scarlatti. One of the first private individuals to own a fortepiano was the castrato Farinelli, who inherited one from Maria Barbara on her death.

The first music specifically written for fortepiano dates from this period, the ''Sonate da cimbalo di piano'' (1732) by Lodovico Giustini. This publication was an isolated phenomenon; James Parakilas conjectures that the publication was meant as an honor for the composer on the part of his royal patrons. Certainly there could have been no commercial market for fortepiano music while the instrument continued to be an exotic specimen.

It appears that the fortepiano did not achieve full popularity until the 1760s, from which time the first records of public performances on the instrument are dated, and when music described as being for the fortepiano was first widely published.

Silbermann fortepianos

It was Gottfried Silbermann who brought the construction of fortepianos to the German-speaking nations. Silbermann, who worked in Freiberg in Germany, began to make pianos based on Cristofori's design around 1730. (His previous experience had been in building organs, harpsichords, and clavichords.) Like Cristofori, Silbermann had royal support, in his case from Frederick the Great of Prussia, who bought many of his instruments.

Silbermann's instruments were famously criticized by Johann Sebastian Bach around 1736, but later instruments encountered by Bach in his Berlin visit of 1747 apparently met with the composer's approval. It has been conjectured that the improvement in Silbermann's instruments resulted from his having seen an actual Cristofori piano, rather than merely reading Scipione Maffei's article. The piano action Maffei described does not match that found in surviving Cristofori instruments, suggesting that Maffei either erred in his diagram (he admitted having made it from memory) or that Cristofori improved his action during the period following Maffei's article.

Silbermann is credited with the invention of the forerunner of the damper pedal, which removes the dampers from all the strings at once, permitting them to vibrate freely. Silbermann's device was in fact only a hand stop, and thus could be changed only at a pause in the music. Throughout the Classical era, even when the more flexible knee levers or pedals had been installed, the lifting of all the dampers was used primarily as a coloristic device. In the post-fortepiano era of the 19th century, the damper pedal became the foundation of piano sound, which came to rely on the sympathetic vibrations of the undamped but unstruck strings.

Viennese school of builders

The fortepiano builders who followed Silbermann introduced actions that were simpler than the Cristofori action, even to the point of lacking an escapement (the device that permits the hammer to fall to rest position even when the key has been depressed). Such instruments were the subject of criticism (particularly, in a widely quoted 1777 letter from Mozart to his father), but were simple to make and were widely incorporated into square pianos.

Stein

One of the most distinguished fortepiano builders in the era following Silbermann was one of his pupils, Johann Andreas Stein, who worked in Augsburg, Germany. Stein's fortepianos had (what we, or Cristofori, would call) "backwards" hammers, with the striking end closer to the player than the hinged end. This action came to be called the "Viennese" action, and was widely used in Vienna, even on pianos up to the mid 19th century. The Viennese action was simpler than the Cristofori action, and very sensitive to the player's touch. According to Edwin M. Ripin (see references below), the force needed to depress a key on a Viennese fortepiano was only about a fourth of what it is on a modern piano, and the descent of the key only about half as much. Thus playing the Viennese fortepiano involved nothing like the athleticism exercised by modern piano virtuosos, but did require exquisite sensitivity of touch.

Stein put the wood used in his instruments through a very severe weathering process, and this included the generation of cracks in the wood, into which he would then insert wedges. This gave his instruments a considerable longevity, on which Mozart commented, and there are several instruments still surviving today.

Other builders

Stein's fortepiano business was carried on in Vienna with distinction by his daughter Nannette Streicher along with her husband Johann Andreas Streicher. The two were friends of Beethoven, and one of the composer's pianos was a Streicher. Later on in the early 19th century, more robust instruments with greater range were built in Vienna, by (for example) the Streicher firm, which continued through two more generations of Streichers.

Another important Viennese builder was Anton Walter, a friend of Mozart's who built instruments with a somewhat more powerful sound than Stein's. Although Mozart admired the Stein fortepianos very much, as the 1777 letter mentioned above makes clear, his own piano was a Walter. The fortepianos of Stein and Walter are widely used today as models for the construction of new fortepianos, discussed below. Still another important builder in this period was Conrad Graf (1782–1851), who made Beethoven's last piano. Graf was one of the first Viennese makers to build pianos in quantity, as a large business enterprise.

English builders

Zumpe/Shudi

The English fortepiano had a humble origin in the work of Johann Christoph Zumpe, a maker who had immigrated from Germany and worked for a while in the workshop of the great harpsichord maker Burkat Shudi. Starting in the middle to late 1760s, Zumpe made inexpensive square pianos that had a very simple action, lacking an escapement, (sometimes known as the 'old man's head'). Although hardly a technological advancement in the fortepiano, Zumpe's instruments proved very popular (they were imitated outside of England), and played a major role in the displacement of the harpsichord by the fortepiano. These square pianos were also the medium of the first public performances on the instrument in the 1760s, notably by Johann Christian Bach.

Backers/Broadwood/Stoddard

Americus Backers, with John Broadwood and Robert Stodart, two of Shudi's workmen, produced a more advanced action than Zumpe's. This ''English grand action'' with an escapement and check enabled a louder, more robust sound than the Viennese one, though it required deeper touch and was less sensitive. The early English grand pianos by these builders physically resembled Shudi harpsichords; which is to say, very imposing, with elegant, restrained veneer work on the exterior. Unlike contemporary Viennese instruments, English grand fortepianos had three strings rather than two per note.

Broadwood

John Broadwood married the master's daughter (Barbara Shudi, 1769) and ultimately took over and renamed the Shudi firm. The Broadwood company (which survives to this day) was an important innovator in the evolution of the fortepiano into the piano. Broadwood, in collaboration with Jan Ladislav Dussek, a noted piano virtuoso active in London in the 1790s, developed pianos that gradually increased the range to six octaves. Dussek was one of the first pianists to receive a 5½ foot piano, and in 1793 he wrote the first work for piano "with extra keys", a piano concert (C 97). The firm shipped a piano to Beethoven in Vienna, which the composer evidently treasured.

Obsolescence and revival

From the late 18th century, the fortepiano underwent extensive technological development and thus evolved into the modern piano; for details, see Piano. The older type of instrument ceased to be made. In the late 19th century, the early music pioneer Arnold Dolmetsch built three fortepianos. However, this attempted revival of the fortepiano was evidently several decades ahead of its time, and did not lead to widespread adoption of the instrument.

In the second half of the 20th century, a great upsurge of interest occurred in period instruments, including a revival of interest in the fortepiano. Old instruments were restored, and many new ones were built along the lines of the old. This revival of the fortepiano closely resembled the revival of the harpsichord, though occurring somewhat later in time. Among the more prominent modern builders have been Philip Belt, Paul McNulty, and Regier. As with harpsichords, fortepianos are sometimes built from kits purchased from expert makers (1, 2).

The reintroduction of the fortepiano has permitted performance of 18th and early 19th century music on the instruments for which it was written, yielding new insights into this music; for detailed discussion, see Piano history and musical performance.

A number of modern harpsichordists and pianists have achieved distinction in fortepiano performance, including Paul Badura-Skoda, Malcolm Bilson, Hendrik Bouman, Ronald Brautigam, Viviana Sofronitsky, Jörg Demus, Richard Fuller, Geoffrey Lancaster, Gustav Leonhardt, Robert Levin, Steven Lubin, Trevor Pinnock, David Schrader, Peter Serkin, Andreas Staier, Susan Alexander-Max, Bart van Oort and Gary Cooper.

Opinions

Opinions about fortepiano sound vary widely, both from person to person and from instrument to instrument. Michael Cookson, a reviewer from UK-based MusicWeb-International states that while he is "a lover of performances on authentic instruments", he considers the fortepiano to be "one of the least successful instruments and the most deserving of improvement." He argues that he is "not always comfortable with the sound made by many fortepianos and however fine a performance may be", he states that he "find[s] it difficult at times to get past the often unpleasant sound."

However, one of Cookson's colleagues from MusicWeb, Gary Higginson, disagrees with this negative view. In a CD review, Higginson argues that a performance on a "...reproduction of a 1730 Cristofori - the greatest of all makers and often the most underrated...makes a gorgeous sound. Yes it can be metallic and subdued in climaxes but it has a marvellous delicacy and, especially in the expressive sonatas, a profoundly beautiful sound."

Howland Auchincloss acknowledges that listeners' first reaction to the sound of a fortepiano may be to view it as a less attractive sound than that of a grand piano. However, he argues that "such a reaction will usually be changed if the player listens to good recordings." He states that the "clear sound and relatively short sustain of the fortepiano tends to favor the special elements of style in the music of Haydn and Mozart. The sound is different but not inferior."

Etymology and usage

"Fortepiano" is Italian for "loud-soft", just as the formal name for the modern piano, "pianoforte", is "soft-loud". Both are abbreviations of Cristofori's original name for his invention: ''gravecembalo col'' [or ''di''] ''piano e forte'', "harpsichord with soft and loud".

The term ''fortepiano'' is somewhat specialist in its connotations, and does not preclude using the more general term ''piano'' to designate the same instrument. Thus, usages like "Cristofori invented the piano" or "Mozart's piano concertos" are currently common and would probably be considered acceptable by most musicians. ''Fortepiano'' is used in contexts where it is important to make the precise identity of the instrument clear, as in (for instance) "a fortepiano recital by Malcolm Bilson".

The use of "fortepiano" to refer specifically to early pianos appears to be recent. Even the authoritative Oxford English Dictionary does not record this usage, noting only that "fortepiano" is "an early name of the pianoforte". During the age of the fortepiano, "fortepiano" and "pianoforte" were used interchangeably, as the OED's attestations show. English novelist Jane Austen, who lived in the age of the fortepiano, used "pianoforte" (also: "piano-forte", "piano forte") for the many occurrences of the instrument in her writings.

See also

Piano

References

Sources

Craw, Howard (1964) ''A Biography and Thematic Catalog of the works of J.L. Dussek'', Los Angeles: University of Southern California.

Good, Edwin M. (1982) ''Giraffes, black dragons, and other pianos: a technological history from Cristofori to the modern concert grand'', Stanford, Calif. : Stanford University Press.

Marshall, Robert (2003) ''18th Century Piano Music'', Routledge.

Parakilas, James (1999) ''Piano roles: three hundred years of life with the piano''. New Haven, CT: Yale University Press.

Pollens, Stewart (1995) ''The Early Pianoforte''. Cambridge: Cambridge University Press.

Ripin, Edwin M. (1986) "Piano", 1986 Encyclopædia Britannica

Ripin, Edwin M. (2001). "Fortepiano (i)". ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan. Also in ''Grove Music Online'', ed. L. Macy (Accessed 19 June 2008), (subscription access)

Ripin, Edwin M., Stewart Pollens, Philip R. Belt, Maribel Meisel, Alfons Huber, Michael Cole, Gert Hecher, Beryl Kenyon De Pascual, Cynthia Adams Hoover, Cyril Ehrlich, And Edwin M. Good (2001). "Pianoforte I: History of the Instrument". ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan. Also in ''Grove Music Online'', ed. L. Macy (Accessed 19 June 2008), (subscription access)

External links

10-minute video crash course introduction to the Viennese 5-octave fortepiano

Photo and discussion of the action of Viennese fortepianos, from Carey Beebe Harpsichords

One of Arnold Dolmetsch's late 19th century fortepianos, from Dolmetsch Online

Image and discussion of 1795 Dulcken fortepiano, from the Ira F. Brilliant Center for Beethoven Studies

Images of fortepianos in the Abell Gallery, National Music Museum, Vermillion, South Dakota

The Pianofortes of Bartolomeo Cristofori, Heilbrunn Timeline of Art History, The Metropolitan Museum of Art

*Other historic pianos at The Metropolitan Museum of Art

**Piano by Conrad Graf, Vienna, 1838

**Piano by Ferdinand Hofmann, Vienna, ca. 1790

**Piano by Johann Schmidt, Salzburg, ca. 1790

**Piano by Joseph Böhm, Vienna, ca. 1820

Fortepianos in the Museum of the University of Leipzig

Cobbe Collection, UK

Finchcocks, UK (developing link)

Fortepiano Audio Sample Library & MP3 Demos

fortepiano - photoarchive Photos of historical pianos and their parts / discussion in the forum

Fortepiano.eu homepage of fortepiano builder Paul McNulty

R.J. Regier Keyboard Instruments Fortepianos and Harpsichords by R.J. Regier

More information on early keyboard instruments

The website of builder Gerard Tuinman include sound files of three of his Anton Walter replicas, illustrating the evolution of fortepiano sound during the career of this builder.

Category:Keyboard instruments

az:Fortepiano br:Fortepiano ca:Piano-forte de:Hammerklavier eo:Prapiano fr:Piano-forte it:Fortepiano he:פורטה-פיאנו nl:Fortepiano ja:フォルテピアノ pt:Fortepiano ru:Фортепиано fi:Fortepiano sv:Hammarklaver

Bart van Oort (born June 6, 1959) is a Dutch classical pianist.

Biography

Van Oort was born in Utrecht. After completing his studies in modern piano in the Royal Conservatory in The Hague in 1983, he studied fortepiano there with Stanley Hoogland. In 1986 he won both first prize, jointly with Geoffrey Lancaster, and the special "Audience" prize at the Mozart Fortepiano Competition in Bruges, Belgium.

Since 1997, van Oort has been a prolific recording artist, as well as recitalist, with roughly 40 recordings to date. His recorded repertoire runs from Haydn, whose complete piano trios he has recorded, to the romantic era, with recordings of Chopin, Field and their lesser-known contemporaries. He recently completed an eight-year project recording the complete keyboard works of Mozart, a collection which includes many pieces hitherto unrecorded. The quatremains pieces he did together with Ursula Dütschler.

After completing his modern piano degree at the Royal Conservatory in The Hague in 1983, Bart van Oort studied fortepiano with Stanley Hoogland, also at the Royal Conservatory. He subsequently studied with Malcolm Bilson at Cornell University (Ithaca, NY) and received a Doctor of Musical Arts degree in Historical Performance Practice in 1993.

Van Oort teaches fortepiano and is a lecturer in Historical Performance Practice at the Royal Conservatory in The Hague, the Conservatory of Amsterdam, and at the Royal Flemish Conservatory in Antwerp. He is also the founder of the Van Swieten Society, which performs classical chamber music.

Concerts

Van Oort has performed in many European countries and appeared at festivals in Utrecht, Florence, Berlin, Antwerp, Bruges, Melbourne, Brisbane, York, Clisson, Montpellier, and Esterhaza. He has also performed in the US and New Zealand, and makes yearly concert and lecturing tours throughout Australia. He was Artist in Residence at the University of Western Australia (DATE) (Perth).

He has given concerts, lectures and masterclasses at the conservatories of Brussels, Paris, Moscow, Helsinki, Oslo, Stavanger, Perugia, Sydney, Adelaide, Wellington, Melbourne, Hong Kong, Tokyo, Juilliard, Bloomington, and Western Ontario, as well as several Dutch conservatories. He has also taught summer courses at the Early Music Institute of Indiana University (Bloomington) and at the University of Western Australia (Perth).

At the bi-annual fortepiano summer workshop which takes place at the castle of Poeke (Belgium), he teaches together with Malcolm Bilson; the next workshop will take place in August 2006.

Recordings

Since 1997 van Oort has made some forty recordings of chamber music and solo repertory, including piano trios by Mozart, Hummel, and Beethoven, and the piano quartets of Mozart, all with his ensemble The Van Swieten Society (formerly Musica Classica). His diverse discography also includes Bohemian Songs with soprano Claron McFadden, the Mendelssohn Double Concerto for piano and violin, and Schubert Sonatas.

Together with six other fortepianists he recorded the complete Beethoven Sonatas (Claves, 1997), and with four other fortepianists he recorded the complete Haydn Sonatas (Brilliant, 2000).

In 2003 the 4 CD box set The Art of the Nocturne in the Nineteenth Century, which included the complete Nocturnes of Field and Chopin as well as works by Pleyel, Kalkbrenner, Clara Schumann, Lefèbure-Wély, E. Weber, Alkan, Glinka, Szymanowska and Dobrzynski, was awarded the highest rating (five tuning forks) by the French classical music magazine Diapason.

His first recording of Sonatas and Fantasies by Mozart (1998) was awarded a "10" by the Dutch CD magazine Luister, and a second volume appeared in 2001. In 2000, Van Oort recorded Mozart’s complete works for piano, four-hands and two pianos with Ursula Dütschler, as well as two discs of Mozart piano solo Variations, and Complete Songs of Mozart (2 CDs), with Claron McFadden and Bas Ramselaar. December 2005 saw the release of Complete Haydn Piano Trios (10 CDs) with his ensemble the Van Swieten Trio.

On January 27, 2006 (250th anniversary of Mozart’s birth) Van Oort’s 14 CD box set, Mozart: Complete Keyboard Works, was released. This collection, which took eight years to complete, includes all known music for piano solo, piano four-hands, and two pianos, and features many works which have never been recorded before.

Sources

Bart van Oort's Biography on his website

Category:Cornell University alumni Category:Dutch classical pianists Category:1959 births Category:Living people Category:People from Utrecht (city) Category:Dutch fortepianists Category:Academics of the Conservatorium van Amsterdam

nl:Bart van Oort ru:Оорт, Барт ван

Paul J. McNulty (born January 21, 1958 in Pittsburgh, Pennsylvania) is the former Deputy Attorney General of the United States, having previously served as the U.S. Attorney for the Eastern District of Virginia. He held the position until July 26, 2007.

He was nominated as U.S. Attorney by President George W. Bush and confirmed on September 14, 2001. McNulty was nominated to the position of Deputy Attorney General on October 20, 2005, following the withdrawal of Timothy Flanigan's candidacy. McNulty was sworn into office on March 17, 2006. He replaced acting Deputy Attorney General Robert McCallum, Jr. McNulty graduated from Grove City College, a small Christian school in western Pennsylvania, in 1980. He received his Juris Doctor (J.D.) from the Capital University School of Law in 1983.

As United States Attorney, McNulty is most noted for overseeing the prosecution of a number of high-profile cases, including those against terror suspects John Walker Lindh, Ahmed Omar Abu Ali and Zacarias Moussaoui. Before becoming U.S. Attorney, McNulty directed President Bush's transition team for the Department of Justice and then served as Principal Associate Attorney General. From 1990 to 1993, under President George H. W. Bush, McNulty was the Justice Department's director of policy and its chief spokesman.

On July 30, 2007, McNulty announced that he would be joining the law firm of Baker & McKenzie LLP as a partner in their Washington, D.C. office.

Career before Department of Justice

McNulty started his public career in 1983 "as a Democrat and counsel to the House Ethics Committee, [before] eventuall bec[oming] a Republican...."

McNulty served the United States Congress for 12 years. He was Chief Counsel and Director of Legislative Operations for the Majority Leader of the U.S. House of Representatives. He was also Chief Counsel to the House Subcommittee on Crime where he served for eight years. During those years he was a principal draftsman of many anti-terrorism, drug control, firearms and anti-fraud statutes. He also served as chief counsel and communications director for House Judiciary Committee Republicans during the impeachment of President Bill Clinton.

Career at Department of Justice

McNulty has played a significant role in shaping criminal justice policy in the Commonwealth of Virginia. He was a primary architect of the "Parole Abolition and Sentencing Reform" initiative in 1994, and he served on the board of the Department of Criminal Justice Services and the Advisory Committee of the Office of Juvenile Justice and Delinquency Prevention.

The Washington Post noted: "He helped shepherd John D. Ashcroft through a contentious confirmation as attorney general in 2001 and was appointed the U.S. attorney in Alexandria three days after the Sept. 11, 2001, attacks. McNulty, who had no trial experience, presided over a dramatic expansion of that office over the next four years before taking over as Gonzales's second-in-command."

As Deputy Attorney General, McNulty reported to the Attorney General, and served as Chairman of Attorney General Alberto Gonzales' Advisory Committee and as Chairman of the Washington/Baltimore High Intensity Drug Trafficking Area.

In December, 2006 McNulty issued Charging Guidelines for Corporate Fraud Prosecutions, which are informally referred to as the "McNulty Memo." The guidelines replaced the Thompson Memorandum, which was issued in January 2003 by then-Deputy Attorney General Larry Thompson, and provides guidance to federal prosecutors in deciding whether to charge a corporation, rather than or in addition to individuals within the corporation, with criminal offenses. Under the Thompson memo, in deciding whether a corporation was cooperating with an investigation, prosecutors were allowed to consider two controversial factors: 1) whether a company would agree to waive the attorney-client privilege in regard to conversations had by its employees, and 2) whether a company had declined to pay attorneys’ fees for its employees. The McNulty Memo requires that when federal prosecutors seek privileged attorney-client communications or legal advice from a company, the U.S. Attorney must obtain written approval from the Deputy Attorney General.

On May 14, 2007 McNulty announced his resignation in a letter to Attorney General Alberto Gonzales. McNulty's resignation took effect July 26, 2007.

U.S. Attorneys controversy

In January, 2007, shortly after a number of U.S. Attorneys were fired the same day (December 7, 2006), Congress began investigations. McNulty became a central figure after he told the Senate Judiciary Committee in a hearing on February 6, 2007, "that the White House played only a marginal role in the dismissals," a statement that was contradicted by later testimony and subsequently released documents. He also said most of the prosecutors were fired for "performance-related" reasons. That statement angered many of the dismissed U.S. attorneys, most of whom had very positive evaluations, and who had refrained from criticizing the DOJ about their surprise dismissals, and that personal explanation was not forthcoming from the Department justifying their dismissals."

As ''Legal Times'' explained: "McNulty’s testimony angered three key constituencies in the scandal: the attorney general, Congress, and the fired U.S. attorneys. Gonzales, it would later emerge, was upset that McNulty had essentially disclosed the involvement of the White House in the firing of H.E. “Bud” Cummins III, the U.S. attorney in Arkansas. And members of Congress would note that, in testifying that Cummins had been fired to make way for an acolyte of White House political adviser Karl Rove, McNulty was contradicting an earlier assertion by Gonzales that the firings hadn’t been motivated by political reasons.'...It also spurred most of the fired prosecutors to publicly defend themselves — four of them alleged that McNulty’s chief of staff, Elston, had attempted to discourage them from speaking out."

Cumins was removed "to make room for Tim Griffin, a Karl Rove protégé who had headed the opposition-research operation at the Republican National Committee. Gonzales was upset, his former chief of staff Kyle Sampson has told congressional investigators, that McNulty's revelation put "in the public sphere" the uncomfortable fact that the White House helped engineer the dismissal."

On March 13th, Attorney General Alberto Gonzales conceded that McNulty's testimony was inaccurate, "incomplete information was communicated or may have been communicated to Congress."

Senator Charles Schumer said he was told by Justice Department officials that Carol Lam and others were terminated because of "performance-related," but Schumer said, Deputy Attorney General Paul McNulty later "called me on the phone and said, 'I am sorry that I didn't tell you the truth."'

McNulty, in turn, was said to be angry at being kept out of the loop, and for being misled, telling congressional investigators in private testimony to Congress on April 27, 2007 that "Kyle Sampson, then Gonzales's chief of staff, and Monica M. Goodling, then the department's White House liaison, did not brief him fully before his testimony."

On May 14 McNulty announced his resignation, which took effect July 26, 2007.

On May 28, 2007 Monica Goodling, the Department's White House liaison, was summoned under a limited grant of immunity to testify before the House Judiciary Committee, where she was quick to refute McNulty's earlier charges against her by stating that, in fact, it was McNulty who "had not been fully candid" about the 2006 U.S. Attorney firings.

References

External links

biography from the U.S. Department of Justice

Prosecutor Nominated As Justice No. 2, ''The Associated Press'', October 21, 2005

Paul McNulty - Alumnus Biography from Grove City College

"Deputy AG Not Fully Candid," CNN, May 28, 2007

{{U.S. Secretary box | before = James B. Comey | after = Craig S. Morford(acting) | years = 2005–2007 | president = George W. Bush | department = Deputy Attorney General}}

Category:Living people Category:American lawyers Category:1958 births Category:Grove City College alumni Category:Capital University alumni Category:Dismissal of United States Attorneys controversy Category:George W. Bush Administration personnel Category:United States Deputy Attorneys General Category:United States Attorneys for the Eastern District of Virginia

de:Paul McNulty

Johann Christoph Friedrich Bach (21 June 1732 – 26 January 1795), the ninth son of Johann Sebastian Bach, sometimes referred to as the "Bückeburg Bach". He is not to be confused with other similarly named members of the Bach family (see Johann Christoph Bach (disambiguation)).

Born in Leipzig in the Electorate of Saxony, he was taught music by his father, and also tutored by his distant cousin Johann Elias Bach. He studied at the St. Thomas School, and some believe he studied law at the university there, but there is no record of that. In 1750, Count Wilhelm von Schaumburg-Lippe appointed Johann Christoph harpsichordist at Bückeburg, and in 1759, he became Konzertmeister. While there, Bach collaborated with Johann Gottfried Herder, who provided the texts for six vocal works; the music survives for only four of these.

Bach wrote keyboard sonatas, symphonies, oratorios, liturgical choir pieces and motets, operas and songs. Because of Count Wilhelm's predilection for Italian music, Bach had to adapt his style accordingly, but he retained stylistic traits of the music of his father and of his brother, C. P. E. Bach.

He married the singer Lucia Elisabeth Münchhausen (1728–1803) in 1760 and the Count stood as godfather to his son Wilhelm Friedrich Ernst Bach. J.C.F. educated his son in music as his own father had, and Wilhelm Friedrich Ernst went on to become music director to Frederick William II of Prussia.

In April 1778 he and Wilhelm travelled to England to visit Johann Christian Bach.

The 1911 ''Encyclopædia Britannica'' says of him "He was an industrious composer, ... whose work reflects no discredit on the family name." He was an outstanding virtuoso of the keyboard, with a reasonably wide repertory of surviving works, including twenty symphonies, the later ones influenced by Haydn and Mozart; and hardly a genre of vocal music was neglected by him

Professor Peter Schickele, in comparing his alter ego, the fictitious composer P. D. Q. Bach, to Johann Sebastian's other sons, said that P.D.Q. possessed "the obscurity of Johann Christoph Friedrich."

A significant portion of J. C. F. Bach's output was lost in the WWII destruction of the Staatliches Institut für Musikforschung in Berlin, where the scores had been on deposit since 1917. Bach's work shows him to have been a transitional figure in the mold of his half-brother C. P. E., his brother Johann Christian, the Grauns, and Georg Philipp Telemann, with some works in the style of the high Baroque, some in a galant idiom, and still others which combine elements of the two, along with traits of the nascent classical style.

Works list

Keyboard Works BR A 1 \ Keyboard Sonata in F major (Wf XI:1) BR A 2 \ Keyboard Sonata in C major (Wf XI:2) BR A 3 \ Keyboard Sonata in C major (Wf XI:3/1) BR A 4 \ Keyboard Sonata in F major (Wf XI:3/2) BR A 5 \ Keyboard Sonata in E major (Wf XI:3/3) BR A 6 \ Keyboard Sonata in D major (Wf XI:3/4) BR A 7 \ Keyboard Sonata in A major (Wf XI:3/5) BR A 8 \ Keyboard Sonata in E flat major (Wf XI:3/6) BR A 9 \ Keyboard Sonata in C major (Wf XI:4) BR A 10 \ Keyboard Sonata in G major (Wf XI:5) BR A 11 \ Keyboard Sonata in F major (Wf XI:6) BR A 12 \ Keyboard Sonata in A minor (Wf XI:7) BR A 13 \ Keyboard Sonata in D major (Wf XI:8/1) BR A 14 \ Keyboard Sonata in A major (Wf XI:8/2) BR A 15 \ Keyboard Sonata in E major (Wf XI:8/3) BR A 16 \ Keyboard Sonata in D major BR A 17 \ Keyboard Sonata in A major BR A 18 \ Keyboard Sonata in F major (Wf XI:9) BR A 19 \ Keyboard Sonata in B flat major BR A 20 \ Keyboard Sonata in G major BR A 21 \ Keyboard Sonata in E flat major BR A 22-25 \ 4 Keyboard Sonatas (lost) BR A 26 \ Keyboard Sonata in E flat major BR A 27 \ Keyboard Sonata in F major BR A 28-30 \ 3 Keyboard Sonatas (lost) (I) BR A 31 \ Keyboard Sonata in D major BR A 32-34 \ 3 Keyboard Sonatas (lost) (II) BR A 35-37 \ 3 Keyboard Sonatas (lost) (III) BR A 38-39 \ 2 Keyboard Sonatas (lost) BR A 40 \ Sonata for keyboard-4 hand in A major (Wf XIII:1) BR A 41 \ Sonata for keyboard-4 hand in C major (Wf XIII:2) BR A 42-43 \ 2 Sonatas for 2 keyboards (lost) BR A 44 \ Variations in A major (Wf XII: 1) (lost) BR A 45 \ Variations on "Ah vous dirais-je Maman" in G major (Wf XII: 2) BR A 46 \ Menuet in D major (Wf XII: 3) BR A 47 \ Menuet in F major (Wf XII: 4) BR A 48 \ 2 Menuets in D major (Wf XII: 5) BR A 49 \ Alla polacca in F major (Wf XII: 6) BR A 50 \ Alla polacca in G major (Wf XII: 7) BR A 51-119 \ 69 pieces for keyboard (Wf XII:13) BR A120 \ Fughette on HCFBBACH in C major (Wf XII:14) BR A121 \ Polonaise in G major (Wf XII: 8) BR A122 \ Menuet in F major (Wf XII: 9) BR A123 \ Polonaise in F major (Wf XII:10) BR A124 \ Menuet in G major (Wf XII:11) BR A125 \ Menuet in A major (Wf XII:12) BR AInc1 \ Partia for keyboard in C major BR AInc2 \ Fugue for keyboard in G minor (lost) BR AInc3 \ Fugue for keyboard in E minor (lost) BR AInc4 \ Fugue for keyboard in C major (lost) BR AInc5 \ Fugue for keyboard in F major BR AInc6 \ Fugue for keyboard in D major (lost) BR AInc7 \ Fugue for keyboard in C major (lost) BR AInc8 \ Galanterie-Stücke for keyboard

Chamber Music BR B 1 \ Cello Sonata in A major (Wf X:3)(1770) BR B 2 \ Cello Sonata in G major (Wf X:1) BR B 3 \ Trio Sonata for flute, violin & bc in A major (Wf VII:1) BR B 4 \ Trio Sonata for flute, viola & bc in E minor BR B 5-10 \ 6 Sonatas for 2 flutes & continuo (lost) BR B11 \ Trio Sonata for 2 violins & b.c. in A major (Wf VII:2) BR B12 \ Trio Sonata for 2 violins & b.c. in F major (Wf VII:3) BR B13 \ Trio Sonata for 2 violins & b.c. (lost) BR B14 \ Flute Sonata in E flat major (Wf VIII:2) BR B15 \ Flute Sonata No.1 in D minor (Wf VIII:3/1) BR B16 \ Flute Sonata No.2 in D major (Wf VIII:3/2) BR B17 \ Flute Sonata No.3 in D major (Wf VIII:3/3) BR B18 \ Flute Sonata No.4 in C major (Wf VIII:3/4) BR B19 \ Flute Sonata No.5 in A major (Wf VIII:3/5) BR B20 \ Flute Sonata No.6 in C major (Wf VIII:3/6) BR B21 \ Violin Sonata in G major (Wf IX:2) BR B22 \ Violin Sonata in D major (Wf IX:3) BR B23-24 \ 2 Flute Sonatas (lost) BR B25 \ Flute Sonata in F major (Wf VIII:1) BR B26 \ Violin Sonata in F major BR B27 \ Violin Sonata in D major BR B28 \ Violin Sonata in G major (Wf IX:1) (lost) BR B29 \ Keyboard Trio in D major (Wf VII:4) BR B30 \ Keyboard Trio No.1 (lost) BR B31 \ Keyboard Trio No.2 in G major (Wf VII:5) BR B32 \ Keyboard Trio No.3 in A major (Wf VII:6) BR B33 \ Keyboard Trio No.4 (lost) BR B34 \ Keyboard Trio No.5 in C major (Wf VII:7) BR B35 \ Keyboard Trio No.6 (lost) BR B36 \ Cello Sonata in A major (Wf X:4) (lost) BR B37 \ Flute Quartet No.1 in C major (Wf VI:1) BR B38 \ Flute Quartet No.2 in G major (Wf VI:2) BR B39 \ Flute Quartet No.3 in C major (Wf VI:3) BR B40 \ Flute Quartet No.4 in A major (Wf VI:4) BR B41 \ Flute Quartet No.5 in F major (Wf VI:5) BR B42 \ Flute Quartet No.6 in B major (Wf VI:6) BR B43 \ String Quartet No.1 in E flat major BR B44 \ String Quartet No.2 in B flat major BR B45 \ String Quartet No.3 in A major BR B46 \ String Quartet No.4 in D major BR B47 \ String Quartet No.5 in G major BR B48 \ String Quartet No.6 in F major BR B49 \ Wind Septet in E flat major (Wf IV) (lost) BR B50-53 \ 4 Marches for wind band (lost) BR BInc1 \ Trio Sonata for 2 violins & b.c. in B major (Wf XX:3) BR BInc2 \ Trio Sonata for 2 flutes & b.c. in C major (lost) BR BInc3 \ Cello Sonata in D major (Wf X:2) (lost) BR BInc4 \ Violin Sonata (lost)

Orchestral Works BR C 1 \ Symphony in D major (Wf I: 5) (lost) BR C 2-3 \ 2 Symphonies (1765) (lost) BR C 4 \ Symphony in D minor (Wf I: 3) (by 1768) BR C 5 \ Symphony in F major (Wf I: 1) (by 1768) BR C 6 \ Symphony in B flat major (Wf I: 2) (by 1768) BR C 7 \ Symphony in E major (Wf I: 4) (by 1769) BR C 8-9 \ 2 Symphonies (1770) (lost) BR C10 \ Symphony in C major (Wf I: 6) BR C11 \ Symphony in D major (Wf I: 7) (lost) BR C12 \ Symphony in G major (Wf I: 8) (lost) BR C13 \ Symphony in D major (Wf I: 9) (lost) BR C14 \ Symphony in E flat major (Wf I:10) BR C15-17 \ 3 Symphonies (lost) BR C18 \ Symphony (lost) BR C19 \ Symphony in D major (Wf I:11) (lost) BR C20 \ Symphony in F major (Wf I:12) (lost) BR C21 \ Symphony in D major (Wf I:13) (lost) BR C22 \ Symphony in C major (Wf I:14) (lost) BR C23 \ Symphony in G major (Wf I:15) (1793) BR C24 \ Symphony in E flat major (Wf I:18) (lost) BR C25 \ Symphony in E flat major (Wf I:19) (lost) BR C26 \ Symphony in D minor (Wf I:16) (lost) BR C27 \ Symphony in C major (Wf I:17) (lost) BR C28 \ Symphony in B flat major (Wf I:20) (1794) BR C29 \ Keyboard Concerto in E flat major BR C30 \ Keyboard Concerto in A major BR C31 \ Keyboard Concerto "London No.1" in G major BR C32 \ Keyboard Concerto "London No.2" in F major BR C33 \ Keyboard Concerto "London No.3" in D major BR C34 \ Keyboard Concerto "London No.4" in E flat major BR C35 \ Keyboard Concerto "London No.5" in B flat major BR C36 \ Keyboard Concerto "London No.6" in C major BR C37 \ Keyboard Concerto in E major (Wf II:1) BR C38 \ Keyboard Concerto (1766) (lost) BR C39 \ Keyboard Concerto (1788) (lost) BR C40 \ Keyboard Concerto in F major (Wf II:4) BR C41 \ Keyboard Concerto in D major (Wf II:2) BR C42 \ Keyboard Concerto in A major (Wf II:3) (lost) BR C43 \ Concerto Grosso in E flat major (Wf II:5) (1792) BR C44 \ Concerto for piano & viola in E flat major BR C45 \ Concerto for piano & oboe in E flat major (Wf III)

Oratorios BR D 1 \ Die Pillgrimme auf Golgatha BR D 2 \ Der Tod Jesu (Wf XIV:1) BR D 3 \ Die Auferstehung und Himmelfahrt Jesu (Wf XIV:10) (lost) BR D 4 \ Die Hirten bey der Krippe Jesu (Wf XIV:9) (lost) BR D 5 \ Die Kindheit Jesu (Wf XIV:2) BR D 6 \ Die Auferweckung Lazarus (Wf XIV:3) BR D 7 \ Der Fremdling auf Golgotha (Wf XIV:7) (lost) BR D 8 \ Mosis Mutter und ihre Tochter (Wf XVII:3) (fragment)

Liturgical Works BR E 1 \ Miserere

Sacred Works BR F 1 \ Pfingstkantate (Wf XIV:4) (lost) BR F 2 \ Sieh, Bückeburg, was Gott an Dir getan (lost) BR F 3 \ Himmelfahrts-Musik (Wf XIV:8) BR F 4 \ Michaels Sieg (Wf XIV:5) BR F 5 \ Nun, teures Land, der Herr hat dich erhört (lost) BR F 6 \ Singet dem Herrn ein neues Lied (Wf XIV:11) (lost) BR F 7 \ Gott wird deinen Fuß nicht gleiten lassen (Wf XIV:12) BR FInc1 \ Funeral Music for Count Philipp Ernst (lost) BR FInc2 \ Heut ist der Tag des Dankens, ihr Völker (lost)

Arias, Cantatas & Incidental Music BR G 1 \ Luci amate ah non piangete (Wf XVIII:8) BR G 2-11 \ 10 Italian Arias (lost) BR G12-26 \ 15 Italian Cantatas (lost) BR G27 \ L'Inciampo (Wf XVIII:2) BR G28-44 \ 18 Italian Cantatas (lost) BR G45 \ Scenes for Il pastor fido (lost) BR G46 \ Cassandra (Wf XVIII:1) BR G47 \ Die Amerikanerin (Wf XVIII:3) BR G48 \ Ino (Wf XVIII:4) BR G49 \ Prokris und Cephalus (Wf XVIII:6) BR G50 \ Pygmalion (Wf XVIII:5) BR G51 \ Ariadne auf Naxos (lost) BR G52 \ Brutus (Wf XVII:1) (lost) BR G53 \ Philoktetes (Wf XVII:2) (lost) BR GInc1 \ Stimmt an, greift rasch in eure Saiten (lost) BR GInc2 \ Va crescendo il mio tormento

Songs BR H 1 \ Lied: Ein dunkler Feind (Wf XIX:1/1) BR H 2 \ Lied: Die Gespenster (Wf XIX:1/2) BR H 3 \ Lied: Die Zeit (Wf XIX:1/3) BR H 4 \ Lied: Der Sieg über sich selbst (Wf XIX:1/4) BR H 5 \ Lied: Der Nachbarin Climene (Wf XIX:1/5)

Other Works in Wohlfarth's catalogue Wf V \ Sextet for piano, winds & strings in C major (see Johann Christian Bach WarB B 78) Wf XV:1 \ Ich lieg und schlafe ganz mit Frieden Wf XV:2 \ Wachet auf, ruft uns die Stimme Wf XV:3 \ Dem Erlöser Wf XV:4 \ Unsere Auferstehung durch die Auferstehung Jesu Wf XVI:1 \ 5 Geistliche Lieder Wf XVI:2 \ 50 Geistliche Lieder Wf XVIII:7 \ O, wir bringen gerne dir Wf XVIIII:2 \ 24 Lieder Wf XX:1 \ Keyboard Concerto in C minor Wf XX:2 \ Keyboard Concerto in G major Wf XX:4 \ Fugue for keyboard in C minor Wf XXI:1 \ Arrangement of CPE Bach's "Weynachtslied" Wf XXI:2 \ Arrangement of CPE Bach's "Dancklied" Wf XXI:3 \ Arrangement of CPE Bach's "Der thätige Glaube"

Works not referenced in any catalogue Cello Sonata in G major

Notes

References

Ulrich Leisinger, "Johann Christoph Friedrich Bach," ''Grove Music Online'', accessed 26 August 2006, .

Eugene Helm, "Johann Christoph Friedrich Bach" ''The New Grove Bach Family'' Macmillan 1985 pp309–314

External links

Creative Flute free sheet music for Flute

Category:1732 births Category:1795 deaths Category:People from Leipzig Category:Classical era composers Category:German composers Johann Christoph Friedrich Category:People from the Electorate of Saxony

bg:Йохан Кристоф Фридрих Бах ca:Johann Christoph Friedrich Bach cs:Johann Christoph Friedrich Bach de:Johann Christoph Friedrich Bach et:Johann Christoph Friedrich Bach es:Johann Christoph Friedrich Bach eo:Johann Christoph Friedrich Bach fr:Johann Christoph Friedrich Bach it:Johann Christoph Friedrich Bach la:Ioannes Christophorus Fridericus Bach hu:Johann Christoph Friedrich Bach nl:Johann Christoph Friedrich Bach ja:ヨハン・クリストフ・フリードリヒ・バッハ no:Johann Christoph Friedrich Bach nn:Johann Christoph Friedrich Bach nds:Johann Christoph Friedrich Bach pl:Johann Christoph Friedrich Bach pt:Johann Christoph Friedrich Bach ru:Бах, Иоганн Кристоф Фридрих sr:Јохан Кристоф Фридрих Бах sv:Johann Christoph Friedrich Bach uk:Йоганн Крістоф Фрідріх Бах zh:约翰·克里斯托弗·弗里德里希·巴赫 he:יוהאן כריסטוף פרידריך באך

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 as 'the London Bach' or 'the English Bach', due to his time spent living in the British capital. He is noted for influencing the concerto style of Mozart.

Life

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, which would perhaps contribute to the sharp differences between his music and that of his father. Even so, his father first instructed him in music and that instruction continued until his death. After his father's death, when Johann Christian was 15, he worked 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.

He enjoyed a promising career, first as a composer then as a performer playing alongside Carl Friedrich Abel, the notable player of the viola da gamba. He composed cantatas, chamber music, keyboard and orchestral works, operas and symphonies.

Bach lived in Italy for many years starting in 1756, 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. In 1762, Bach travelled to London to première three operas at the King's Theatre, including ''Orione'' on 19 February 1763. That established his reputation in England, and he became music master to Queen Charlotte. He met soprano Cecilia Grassi in 1766 and married her shortly thereafter. She was his junior by eleven years. They had no children.

Johann Christian Bach died in London on New Year's Day, 1782. He was buried in the St. Pancras Old Church graveyard, St Pancras, London.

Contrasting styles of J. S. Bach and J. C. Bach

Johann Christian Bach's father died when Johann Christian was only fifteen. This is perhaps one reason why it is difficult to find points of similarity between the music of Johann Sebastian Bach and that of Johann Christian. By contrast, the piano sonatas of Carl Philipp Emanuel Bach, Johann Christian's much older half brother, tend to invoke certain elements of his father at times, especially with regard to the use of counterpoint. (C.P.E. was 36 by the time J.S. died).

Johann Christian's highly melodic style differentiates his works from those of his family. He composed in the Galante style incorporating balanced phrases, emphasis on melody and accompaniment, without too much contrapuntal complexity. The Galante movement opposed the intricate lines of Baroque music, and instead placed importance on fluid melodies in periodic phrases. It preceded the classical style, which fused the Galante aesthetics with a renewed interest in counterpoint.

J. C. Bach and the symphony

The symphonies in the Work List for J. C. Bach in the ''New Grove Bach Family'' listed ninety-one works. A little more than half of these, 48 works, are considered authentic, while the remaining 43 are doubtful.

By comparison, the composer sometimes called "the Father of the Symphony," Joseph Haydn, wrote 104 symphonies. Most of these are not fully comparable to Johann Christian Bach's symphonies, because many of Johann Christian'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 today are frequently filled with the music of Haydn, and comparatively rarely with that of J. C. Bach. 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''.

Legacy

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 was a composer.

Mozart esteemed J.C. Bach's music highly and arranged three sonatas from the latter's Op. 5 into keyboard concertos.

Works

See list of compositions by Johann Christian Bach.

Media

References

;Notes

;Sources

Christoph Wolff et al. ''The New Grove Bach Family.'' (NY: Norton, 1983) pp. 315ff. ISBN 0-393-30088-9.

Philipp Spitta (trans. by Clara Bell & J. A. Fuller-Maitland). ''Johann Sebastian Bach, his work and influence on the music of Germany, 1685-1750 - 3 vols.'' (London: Novello & Co., 1899):

:Vol 1 :Vol II :Vol III

Hans T. David, A. Mendel, C. Wolff. ''The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents'' (NY: Norton, 1998).

Heinz Gärtner (trans. by Reinhard Pauly). '' John Christian Bach: Mozart's Friend and Mentor''. (Portland, Ore.: Amadeus Press, 1994).

Charles Sanford Terry. ''John Christian Bach'' (London: Oxford University Press, 1967).

Percy M. Young. ''The Bachs: 1500-1850'' (London: J.M. Dent & Sons, Ltd., 1970).

External links

;Information:

J C Bach (classical.net)

J C Bach (classicalarchives.com)

J C Bach (pianosociety.com)

Brian Robins">Article: "Gainsborough and Music" by Brian Robins

;Music:

J.C. Bach's Concerto in D Major Op.13, No.2, 1st movement (YouTube)

J C Bach's Quartet in B Flat Major (YouTube)

Flute sonatas, W. B 10-15, 1780 edition (From the Sibley Music Library Digital Scores Collection)

Category:German composers Category:Classical era composers Johann Christian Bach Category:Opera composers Category:Converts to Roman Catholicism from Lutheranism Category:German Roman Catholics Category:1735 births Category:1782 deaths Category:18th-century German people

bs:Johann Christian Bach bg:Йохан Кристиан Бах ca:Johann Christian Bach cs:Johann Christian Bach cy:Johann Christian Bach da:Johann Christian Bach de:Johann Christian Bach et:Johann Christian Bach es:Johann Christian Bach eo:Johann Christian Bach fa:یوهان کریستین باخ fr:Johann Christian Bach gv:Johann Christian Bach ko:요한 크리스티안 바흐 hr:Johann Christian Bach it:Johann Christian Bach he:יוהאן כריסטיאן באך la:Iohannes Christianus Bach lb:Johann Christian Bach hu:Johann Christian Bach mr:योहान क्रिस्चियन बाख nl:Johann Christian Bach ja:ヨハン・クリスティアン・バッハ no:Johann Christian Bach nn:Johann Christian Bach oc:Johann Christian Bach nds:Johann Christian Bach pl:Johann Christian Bach pt:Johann Christian Bach ro:Johann Christian Bach ru:Бах, Иоганн Христиан sq:Johann Christian Bach simple:Johann Christian Bach sk:Johann Christian Bach sl:Johann Christian Bach sr:Јохан Кристијан Бах fi:Johann Christian Bach sv:Johann Christian Bach uk:Йоганн Крістіан Бах vi:Johann Christian Bach zh:约翰·克里斯蒂安·巴赫