Bachs, Sammartini, and Analysis of J.C. Bach’s Op. 7, No. 5 in J.C. Bach Form

task:

1. Analyze/Highlight the ritornello and sonata forms of J.C. Bach’s Op. 7, No. 5 (refer to your book)
2. Mark the piece (see attachment) on just one copy, (instead of two copies) to indicate:
-Ritornello portions
-Exposition
-Development
-Recapitulation
3. In bullet points, write down the musical contributions or features of the following composers:
a. Carl Philipp Emanuel Bach
b. Giovanni Battista Sammartini
c. Johann Christian Bach

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Carl Philipp Emanuel Bach

Giovanni Battista Sammartini

Johann Christian Bach

Carl Philipp Emanuel Bach (March 8, 1714 - Dec. 14, 1788)

= also spelled Karl Philipp Emmanuel Bach

= second son (who survived) of Johann Sebastian and Maria Barbara Bach

= the leading composer of the early Classical period. the chief exponent of “expressive” music at a time when music was regarded as the art of pleasing sounds

= published his Versuch über die wahre Art das Klavier zu spielen (1753, rev. ed. 1787; Essay on the True Art of Playing Keyboard Instruments)

       = one of the essential sourcebooks for understanding the style and interpretation of 18th century music

       = comprehensive on thorough bas, ornaments, fingering, and guide to many other refinements of 18th century performance

       = Haydn called C.P.E. Bach’s Essay on Keyboard Instruments “the school of schools”

       = Mozart said, “He is the father, we are the children”

       = Beethoven when teaching the young Karl Czerny wrote “be sure of procuring Emanuel Bach’s treatise"

= a leader of the movement of Empfindsam/Empfinsamkeit (“sensitivity”)

= his compositions include: 

       = religious music (a Magnificat, 22 Passions)

       = symphonies

       = concerti (for flute, harpsichord, piano, organ, oboe

       = organ sonatas

       = chamber music

= the music from his period in Berlin is comparatively old-fashioned, because of the preferences of his royal employer

= his symphonies, concerti, keyboard sonatas were influential in the evolution of classical sonata-allegro form

= Prussian (1742) and Wurttemberg sonatas (1744)

       = his first two sets of keyboard sonatas

       = featured a new manner of keyboard writing and influenced later composers

       = these keyboard sets (and the other sets) helped to establish the three movement pattern for the sonata (first-slow-fast, with middle in a related ket)

= Sechs Clavier-Sonaten fur Kenner und Liebhaver (Six Clavier Sonatas for Connoisseurs and Amaterus) (1765)

       = in the 2nd movement of the fourth of Sechs Clavier-Sonaten fur Kenner und Liebhaver. the empfindsam style is apparent

Sechs Clavier-Sonaten fur Kenner und Liebhaver, 2nd movement of No. 4

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Giovanni Battista Sammartini (1700 - 15 January 1775)
= Italian composer, oboist, organist, choirmaster, teacher
= quickly became famous as a church composer and obtained fame outside of Italy by the 1730s. he joined many churches for work

= his Symphony in F major, No. 32 (1740)

       = representative of early symphonies

       = scored for strings in four parts

              = violin I and II

              = viola

              = bass (played by cellos)

              = bass viol

       = harpsichord and bassoon were probably added (his later symphonies added winds)

       = as in most early symphonies: fast-slow-fast movement form

= from Italy the symphony spread north (to Germany, Austria, France, England)

= his approach to symphonic composition was unique in that it drew influence from the trio sonata and concerto forms (in contrast to composers during the time that modeling symphonies after the Italian overture)

= he was influential in the development of the Classical style of Haydn and others
= "one can trace the development of Classical style through this important cycle of works: the early symphonies reveal traces of Baroque influences, whereas the middle-period works dispense with these elements and add two horns to the ensemble. The late symphonies are longer, and yet more wind instruments are added to the texture, and the continuo is retired for good through his separation of the cello and bass parts"  

Symphony in F major, No. 32

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Johann Christian Bach (5 September 1735 - 1 January 1782)

= youngest son of J.S. Bach and trained by his father and older brother (Carl Emanuel Bach)
= after his father’s death (1750) he worked with his half-brother, C.P.E. Bach, in Berlin

= moved to London (1762) where he prospered as a performer, teacher, impresario, composer of concertos, symphonies, chamber music, keyboard music, operas
= prominent in the early Classical period

= his works were mostly in galant style and were performed all over Europe

= a major influence on Mozart who met Bach and arranged 3 of Bach’s sonatas into concertos

= 18th century: concertos were typically in 3 movements 

       = slow movements (1st and 3rd/finale):

              = often used forms like those in other genres but this first movement followed a form unique to concertos

              = retained elements of the ritornello form in Baroque concertos (that alternate with episodes that feature the soloist) and combines this with the contrasts of key and thematic material characteristic of sonata form

              = in essence, a sonata form framed by a ritornello form

= cadenza

       = by Bach’s time, it had become a tradition for the soloist to play a cadenza

       = usually improvised, just before the final orchestral ritornello

       = had developed from the trills and runs that singers inserted (particularly before retuning to the opening section in da capo aria

Piano Concerto Op. 7 No. 5 in E flat major

here is an analysis of the first movement of this concerto. i'd like to acknowledge celine ponce for giving her time and helping me out ^ - ^ if not for her i wouldn't be able to do this because i would be too frustrated to. and thanks to her i understand these forms stuff more

https://drive.google.com/open?id=1vNRyTp7LLB1L9GbgSrsYjQwd6kztPc_O

the 19th century analysis

SONATA FORM (note: the analysis above is based on J.C. Bach's form)

= exposition (usually has 2 themes)

          first theme: where it's tonal center is I/tonic

          transition: is modulating to V

          second theme: V is now tonicized (like a tonic)

          closing theme: ends at V

= development (takes the different themes and expounds on them. example: use of more trills, or 2 eight notes for the quarter notes)

          developing ideas from exposition

          retransition (like recapping the theme) on V

= recapitulation (like a repetition of the exposition)

          first theme: I

          transition: modulation

          second theme: I

          closing theme: I

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