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His juxtaposition of strings and winds in "conversation" with each other is entertaining and creates texture and color. His changes in tempo and theme are done gracefully and skillfully, with additions of trills and small humorous variations. The slow middle movement is serene and mournful with lower register thematic repetition. It is very moving and memorable. The variations that fill the last movement reflect on the first two and complete a fitting ending to the piece. There were several solo pieces that were derived from this symphony that can be played by individuals on various instruments and, as this was the popular thing to do in the late 18th century, the piece became well-known.
Having learned his skill and having inherited his talent from such a noble father as Johann Sebastian Bach, C.P.E. Bach became even more famous in his day than his father was, even before he turned 25. He was a prodigious piano player, having established a reputation as a keyboard artist by his "Essay on the True Art of Playing Keyboard Instruments." But as a composer, his style was distinct. While C.P.E. Bach was only one of J.S. Bach's sons who became composers and the youngest, Johann Christian Bach, becoming the most popular, C.P.E. Bach still is...
Composing into the Rococo (1725-1775) period, his compositions for keyboard were admired by his fellow composers and are still admired today. His works were studied and imitated, even by Beethoven. Though it is true that during his era he and his brothers became better known than their father, whose music was considered out of fashion, both he and his father are now considered geniuses in the world of music.
It was said by Karl Barth that the angels play only Bach in praising God, but at home they play Mozart. This was his acknowledgement that Bach was the more majestic composer, creating musical symphonies worthy of being played on Sunday mornings. With an adventurous, brand-new, willful style, characterized by a subtle sensitivity and introversion, both J.C. Bach and C.P.E. Bach's influence on future generations was sound. Mozart once said, "He is the father, we are the children"
Works Cited
Benjamin, Thomas. The Craft of Tonal Counterpoint. New York: Routledge. 2003.
Encyclopedia Britannica. Symphony. Found online at http://www.britannica.com/eb/article/27481/symphony.
Rosen, Charles. The Classical Style. New York: W.W. Norton, 1972.
Works Cited
Benjamin, Thomas. The Craft of Tonal Counterpoint. New York: Routledge. 2003.
Encyclopedia Britannica. Symphony. Found online at http://www.britannica.com/eb/article/27481/symphony.
Rosen, Charles. The Classical Style. New York: W.W. Norton, 1972.
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