JC Bach’s Creativity Pattern
(Applying Howard Gardner’s Approach to Creativity Analysis)
Origins and apprenticeship (1735-1762)
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Son of JS Bach and Anna Magdalena Wilke Bach
Born in Leipzig, probably educated first by JS, later by CPE in Berlin, after JS’s
death
Upon JS’s death, inherited generous portion of estate, including three
harpsichords
From age 15-19, lived with CPE in Berlin
In 1754, left Berlin for Italy, possibly with a “lady opera singer” (JC is 19 yrs old)
Possibly studies with Martini
Converts to Roman Catholicism (career related) and takes second post at Milan
Finds patron in Count Litta, who encourages his church music career
First Breakthrough
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Receives commissions for operas from Turin, Naples.
“Especially attentive” to ballet Columba Beccari
Catone in Utica (his second opera) written in 1761 was to be his biggest operatic
success
The Move to London in 1762, stays there until death
Initial operatic successes
Initially lodged with Columba Mattei (director of the King’s Theater)
Theater in London was organized along commercial lines, compared to the
patronage system of the German States
Later, lodges with Carl Friedrich Abel, a viol da gamba player. Friendship may
have dated from their Leipzig days. Their first joint concert was in 1764.
In 1764, JC meets the then 8-year-old Mozart. They establish a warm relationship
that includes playing duets together. No formal master-pupil relationship.
Mozart studies JC’s music, and even arranges several works into piano concertos.
Ten years of success in London, including the establishing of the Bach-Abel
concerts in 1766. The peak number of concerts per season was 15, dropping to 12
in less successful years, performed in a variety of venues
JC meets Cecilia Grassi in 1766 and married her (date uncertain)
Suffers public humiliation with a performance at the organ which was hissed by
the audience
Meets and collaborates with flutist Johann Baptist Wendling, whose wife was the
prima donna of the Mannheim opera
Second Breakthrough
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Collaboration with Wendling in London leads to trip to Mannheim, when JC has
successes with his operas Temistocle (libretto Metastasio) and, later, Lucio Silla
(libretto de Gammera).
While in Mannheim (1772), falls in loves with Augusta Wendling (the 16 yearold daughter of Wendling, b. 1756), according to Mozart’s mother
JC returns to his English base, and travels to the west of England with Grassi in
1773--likely marrying her on this trip
Bach acquires property in Hanover Square in 1774, along with backing from
Giovanni Gallini. Builds house with concert hall. The move overextends Bach.
Partnership dissolves, and Bach-Abel concerts continue only with support of Earl
of Abington (Gallini’s father-in-law)
In 1776, JC’s portrait is painted by Gainsborough, at the request of Martini
Revival of Orione, composes “La Clemenza di Scipione (which influences
Mozart) and performs frequently on benefit concerts for colleagues
Last Years
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Late operas caught in the Gluck-Piccini controversies
Fortunes decline
Financial scandal ruins him--housekeeper had embezzled over L1000 and
absconded.
Health declines in 1781--writes will, leaving everything to Cecilia
Works
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Church music--mostly Latin, composed in Italy before move to London
Operas--Italian opera seria. Shows Metastasian form in its late stages, with no da
capo arias
Economy of expression, orchestral accompanied recitative
Orchestral music--overtures, symphonies and sinfonia concertante like those
written at Mannheim. His works were performed at the Concert Spirituel in Paris
Keyboard music--accompanied keyboard sonatas, trios, quintets
Assessment
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Widely regarded during his lifetime
Slow movements highly praised
Influenced Mozart, who did not know JS’s music until much later
Reputation fades with ascent of Haydn and Mozart
Work denigrated by critics as inferior to JS’s
Now viewed as an important figure leading to Mozart’s perfection of the style