Just in case some people think this sounds like Mozart, when he was 8 or so he spent a year and half in London and met J.C. Bach and they even played duets together and J.C gave him manuscripts to study (including symphonies by his music partner Abel) So it's pretty obvious that Mozart learned a lot from his meetings and association with J.C. Bach.
AML2000 JC and Mozart met not once but regularly over the time Mozart was in London, indeed both Wolfgang and Nannerl stayed with him for a while when Leopold fell ill. JC clearly impacted significantly on the spectacular progress made by Wolfgang through the lessons, interaction, and help given by him over the 16 months the family spent in London between April 1764 and July 1765.
@@elaineblackhurst1509 I didn't mean to imply that they only met once. Sorry if I gave that impression! I've changed it to reflect that they met regularly.
AML2000 No prob; those meetings with JC were of fundamental importance to the boy Wolfgang and must have been a revelation as well as a breath of fresh air after the rather old-fashioned, limited and probably quite oppressive and controlling experience of his father. Wolfgang was ready for a change; JC provided it, Mozart blossomed, and treasured the experience - of both the man and his music for the rest of his life. Throughout Mozart’s lifetime, only Haydn really impacted on him to the same degree as a composer - but in a very different way on the musically mature Mozart. Additionally, Mozart also became very interested in Bach and Handel in the 1780’s - in particular the contrapuntal writing - when he and Haydn went along to van Swieten’s music sessions largely dedicated to these two composers, and that too was an influence of yet another kind.
When Haydn was on his first London trip in 1792, the impressario who brought him there had him write a sinfonia concertante for violin, oboe, bassoon and cello. Sinfonie concertanti were wildly popular in London at the time, thanks to Pleyel's many offerings in the form. In addition, this John Christian Bach sinfonia concertante was still in the active repetoire, even though it was by then 17 years old, which was old for then-"contemporary" music. Haydn's only composition in this form sounds like Haydn, of course, but the model he followed seems more to be John Christian Bach's than any of the Pleyel efforts I've heard. It's interesting to compare the two. Here's Haydn's: ua-cam.com/video/4eQKUffDkaw/v-deo.html .
Mozart, âgé de 19 ans en 1775, ne se serait nullement déshonoré en signant cette symphonie concertante qui nous fait réaliser, en même temps, combien toute la musique européenne de l'époque est "mozartienne".
Yves Maze, ou nous dit combien Mozart est aussi classique, "galant", comme tant d'autres, et les différences individuelles domineront. Mais je suis d'accord avec vous, Mozart va signer.
It has to he said that this is a a very fine and well composed piece of music, not to mention thoroughly enjoyable. It is a comment on life. Why is Mozart so well known ( and rightly so) yet this man is largely neglected. JC wrote a lot of very fine music. Maybe it is the cataloguing of his works that just do not attract attention.
I guess people base their opinions of quality of music in the personal abnormal life the compser had. A more interesting life, the better the music... Although that is ridiculous.
Larry Sher London was by far the richest city in Europe, with by far the biggest middle class with money to spend; it was also the city where the aristocracy, church and royalty had by far the least influence - in fact they were largely irrelevant - in sharp contrast to the Vienna, and other Austria-German cities known to Mozart, Haydn, and Beethoven. Economically, socially, and politically England was some way in advance of most European countries at the time.* The music publication business in London was huge, probably only Paris was comparable in the second half of the 18th century, though some other Austro-German centres were growing in importance, and cities like Amsterdam had always had a thriving publishing centre as well. To illustrate this point, Haydn was dealing a few years later with no less than *six* different publishers in Britain - and that did not include those who published his works without authorisation. When Haydn visited London only nine years after JC Bach died, he made a fortune that astonished him, impossible in any other city or country; on his return to Vienna after his second visit - in short - he told Beethoven to go to England to solve all his own financial troubles. JC did not die of starvation, though there was some evidence he was defrauded. Some of JC’s music remained popular after his death, he probably was not a great businessman, and whilst much of his music was published not only in London, but in places like Amsterdam and Paris as well, he probably did not see as much money from this as he should have done. Additionally, one or two of his later operas in the 1770’s flopped, Lucio Silla in Mannheim, and Amadis des Gaules in Paris for example. No need for any more guessing...hope this helps. * Advanced as it was in many ways, with one or two notable exceptions in Art, Literature, and Architecture, generally speaking, England was *not* ‘advanced’ in music where native composers were almost entirely not of the first rank; in the 18th and 19th centuries, England was almost entirely dependent on foreign born composers - either visitors like Haydn and Mendelssohn, or those who settled there like Handel and JC Bach who worked alongside a number of very second-rate native composers. The busy concert scene - which outshone that in any other city, particularly after 1789 until peace was restored to Europe - was also largely dominated by foreign impresarios.
Just in case some people think this sounds like Mozart, when he was 8 or so he spent a year and half in London and met J.C. Bach and they even played duets together and J.C gave him manuscripts to study (including symphonies by his music partner Abel) So it's pretty obvious that Mozart learned a lot from his meetings and association with J.C. Bach.
Absolutely right. JC is the unrecognised Mentor of Mozart. Listen to the Wolfi Duet, composed by JC for his prodigy.
And of course, J C Bach is underrated as a composer, although there has been a revival of his music on the wireless. Radio 3 for example :)
AML2000
JC and Mozart met not once but regularly over the time Mozart was in London, indeed both Wolfgang and Nannerl stayed with him for a while when Leopold fell ill.
JC clearly impacted significantly on the spectacular progress made by Wolfgang through the lessons, interaction, and help given by him over the 16 months the family spent in London between April 1764 and July 1765.
@@elaineblackhurst1509 I didn't mean to imply that they only met once. Sorry if I gave that impression! I've changed it to reflect that they met regularly.
AML2000
No prob; those meetings with JC were of fundamental importance to the boy Wolfgang and must have been a revelation as well as a breath of fresh air after the rather old-fashioned, limited and probably quite oppressive and controlling experience of his father.
Wolfgang was ready for a change; JC provided it, Mozart blossomed, and treasured the experience - of both the man and his music for the rest of his life.
Throughout Mozart’s lifetime, only Haydn really impacted on him to the same degree as a composer - but in a very different way on the musically mature Mozart.
Additionally, Mozart also became very interested in Bach and Handel in the 1780’s - in particular the contrapuntal writing - when he and Haydn went along to van Swieten’s music sessions largely dedicated to these two composers, and that too was an influence of yet another kind.
When Haydn was on his first London trip in 1792, the impressario who brought him there had him write a sinfonia concertante for violin, oboe, bassoon and cello. Sinfonie concertanti were wildly popular in London at the time, thanks to Pleyel's many offerings in the form. In addition, this John Christian Bach sinfonia concertante was still in the active repetoire, even though it was by then 17 years old, which was old for then-"contemporary" music.
Haydn's only composition in this form sounds like Haydn, of course, but the model he followed seems more to be John Christian Bach's than any of the Pleyel efforts I've heard. It's interesting to compare the two. Here's Haydn's: ua-cam.com/video/4eQKUffDkaw/v-deo.html .
Beautiful painting I can't stop looking at, just like listening to this piece...even though volume needs cranking up
Indescribable comfort
Indescribable beauty
Indescribable feeling
and something indescribable
Thoroughly delightful listening.
très belle musique, légère enjoué, merci
magnifique
Omg! How incredible he is! I love him... And this ... mozart, where is he?
Love this.❤❤
Rococo selfie
Mozart, âgé de 19 ans en 1775, ne se serait nullement déshonoré en signant cette symphonie concertante qui nous fait réaliser, en même temps, combien toute la musique européenne de l'époque est "mozartienne".
Yves Maze, ou nous dit combien Mozart est aussi classique, "galant", comme tant d'autres, et les différences individuelles domineront. Mais je suis d'accord avec vous, Mozart va signer.
No, rather Mozart was Bachian.
@@abdul-hadidadkhah1459
JC, not JS or any of the others.
¡¡¡muy bonita sinfonia.
It has to he said that this is a a very fine and well composed piece of music, not to mention thoroughly enjoyable. It is a comment on life. Why is Mozart so well known ( and rightly so) yet this man is largely neglected. JC wrote a lot of very fine music. Maybe it is the cataloguing of his works that just do not attract attention.
I guess people base their opinions of quality of music in the personal abnormal life the compser had. A more interesting life, the better the music... Although that is ridiculous.
@@hanzohattori6716 Im guessing the market for JC's music. in London was just not as good as the continent. JC apparently died of starvation. Sad!
Larry Sher
London was by far the richest city in Europe, with by far the biggest middle class with money to spend; it was also the city where the aristocracy, church and royalty had by far the least influence - in fact they were largely irrelevant - in sharp contrast to the Vienna, and other Austria-German cities known to Mozart, Haydn, and Beethoven.
Economically, socially, and politically England was some way in advance of most European countries at the time.*
The music publication business in London was huge, probably only Paris was comparable in the second half of the 18th century, though some other Austro-German centres were growing in importance, and cities like Amsterdam had always had a thriving publishing centre as well.
To illustrate this point, Haydn was dealing a few years later with no less than *six* different publishers in Britain - and that did not include those who published his works without authorisation.
When Haydn visited London only nine years after JC Bach died, he made a fortune that astonished him, impossible in any other city or country; on his return to Vienna after his second visit - in short - he told Beethoven to go to England to solve all his own financial troubles.
JC did not die of starvation, though there was some evidence he was defrauded.
Some of JC’s music remained popular after his death, he probably was not a great businessman, and whilst much of his music was published not only in London, but in places like Amsterdam and Paris as well, he probably did not see as much money from this as he should have done.
Additionally, one or two of his later operas in the 1770’s flopped, Lucio Silla in Mannheim, and Amadis des Gaules in Paris for example.
No need for any more guessing...hope this helps.
* Advanced as it was in many ways, with one or two notable exceptions in Art, Literature, and Architecture, generally speaking, England was *not* ‘advanced’ in music where native composers were almost entirely not of the first rank; in the 18th and 19th centuries, England was almost entirely dependent on foreign born composers - either visitors like Haydn and Mendelssohn, or those who settled there like Handel and JC Bach who worked alongside a number of very second-rate native composers.
The busy concert scene - which outshone that in any other city, particularly after 1789 until peace was restored to Europe - was also largely dominated by foreign impresarios.
SWEETness...
It was a real tragedy and loss to music that JC died at the age of just 47. Think what he might have achieved if he had lived longer.
❤
Não entendi o porquê da tela do Marquês de Pombal (de Portugal) e não do autor J.C.Bach...
Anyone who is familiar with JC music knows it is JC himself.
Can you please shed some light on the portrait in the background?
18th Century Easy Listening
Why the portrait is of Marquês de Pombal?
l
Is this the same as W C43?
Yes,I think so.Because WC 43 is the only Symph.Conc. with the
same 4 solo instruments.