Fétis and Bitter say he was the greatest organist in Germany after his father, and Forkel states that his “clavier-playing was light, brilliant, and charming,” and his “organ style was elevated, solemn, and full of religious feeling.” He extemporised much but composed little, though some sonatas for clavecin, both solo and with violin, some polonaises, organ-pieces, concertos, fugues, symphonies and cantatas have come down to us.
Johann Christoph (No. 50) died in infancy.
The Berlin Bach
Carl Philipp Emanuel (No. 51) the most celebrated of Sebastian’s sons is called the “Berlin Bach,” having lived in that city for twenty-nine years. He studied at St Thomas’ School at Leipsic under his father, and afterwards joined the University of Leipsic as a student of law, but completed this course of study at Frankfort on the Oder. In 1738 he entered the service of Frederick the Great at Berlin as cembalist. In 1767 he went to Hamburg in succession to Telemann as director of music, after having with great difficulty obtained leave from the Court at Berlin to depart. Here he remained till his death in 1788. He was a prolific composer in all styles. A catalogue of his works is given by Fétis, among the most important of which are those for clavier, and his “Attempt to explain the true art of Clavier-playing,” the first treatise on the subject if we except Couperin’s “L’art de toucher le clavecin.” It describes the method of John Sebastian, from which the present style of piano-playing is developed, and the rules for the execution of the “Manieren”; while in the second part, thorough bass and accompaniment of voices are treated of. He became the greatest theorist of his time, and in his autobiography he says, “In composition and clavier-playing I have never had any teacher but my father.” Hilgenfeldt remarks that he was intended for a learned profession and only studied music as an amateur; but Bitter shows that he was an artist, and was brought up as a practical musician, his scientific studies being secondary to music.
Emanuel’s position in musical history
Emanuel occupies a very important position in the history of music. His period was one of transition. Polyphony had reached its highest point. Oratorio had been developed to its greatest splendour, and organ and clavier-playing had reached their highest development on the old lines. His services to art were that he opened new paths in clavier-music, which made possible the creations of Haydn, Mozart and Beethoven. Bitter considers him the father of that particular kind of form which has been found suitable to the modern piano: viz. the sonata form. His smaller sonata forms were based on those of the preludes in the Wohltemperirte Clavier which are in two sections, and this form was developed by Haydn and his successors. The form is found in the six sonatas of 1742, but it had been used by Krebs in his “Preambles” two years earlier.
Johann Gottfried Bernhard Bach (No. 52) was given the post of organist at Mühlhausen in response to an earnest letter from his father to the authorities. He, however, shortly afterwards went to Jena to study law, and died there in 1739 of a fever.
Leopold August (No. 53) died young.
Gottfried Heinrich Bach (No. 54) is only known as having lived in Leipsic in the year 1754.
Christian Gottlieb Bach (No. 55) lived only three years.