First Printed Clavier Sonata.—The first printed clavier sonata seems to have been published by Johann Kuhnau (1660?-1722). This was in the key of B-flat, and was the last of several pieces in the same volume. In the preface, the author gives a semi-apology for its introduction, saying that he sees no reason why sonatas should not be written for the clavier as well as for any other instrument. This sonata begins with an Allegro, followed by a fugal movement; and in the following Adagio movement, the tendency to put the slow movement into a contrasting key is illustrated, as this is in D-flat major. After another Allegro, there is a Da Capo to the first part.
Other Sonatas by Kuhnau.—It was difficult for the early sonata writers to break away entirely from the old polyphonic style; and when a part appeared in the nature of a Free Fantasia, they generally had recourse to fugal work, having no precedent in harmonic music to fall back upon. Thus, in his seven sonatas published in 1696, entitled “Fresh Fruits for the Clavier,” which show more individuality in melodic invention, Kuhnau uses the fugal style whenever the harmonic forms fail him. These sonatas show a prevalence of ornaments, which, he says, are “sugar to sweeten the fruits.” A remarkable collection of clavier pieces are his six Bible sonatas, in which the form is entirely outside of the development traced above, since the various movements of each sonata simply follow the lines of a Bible story, like that of the “Combat between David and Goliath,” which they illustrate. As samples of program music, they proceed in the steps of Pachelbel, and others on record. Kuhnau studied law, and was from 1682 organist at St. Thomas’ Church, at Leipzig, where he preceded J. S. Bach.
Frederick the Great’s Influence.—A great impetus was given to German clavier music by the interest with which, like all other forms of instrumental music, it was viewed by Frederick the Great of Prussia (r. 1740-86). This warlike but thoroughly Teutonic monarch gathered at his court a brilliant coterie of instrumentalists, delighting to perform with them on his favorite instrument, the flute. Although this musical inspiration was disturbed by the wars in which he engaged, and especially by the Seven Years’ War (1756-63), the growth of clavier music was nevertheless steady.
Musical Journals.—A number of musical journals which appeared from 1760 on, contributed also to this enthusiasm, in giving clavier composers a medium for bringing their works before the public, and also in giving them the chance to profit by one another’s experiments. Many writers thus came to the fore, who aided materially in the elaboration of harmonic music material.
Other Early Composers.—Of these, Gottfried Heinrich Stoelzel (1690-1749), chapel-master at Saxe-Gotha, wrote an “enharmonic” clavier sonata in three parts, a Largo in C minor, in 4/4 time; a short fugue; and a 3/8 movement, in harmonic form, in which experiments in modulation were tried. His successor at Saxe-Gotha was Georg Benda (1721-95), who published a number of clavier pieces and sonatas, besides two concertos for clavier and string quartet, all of which show a desire for genuine expression in the harmonic form. The first four-hand sonatas seem to have been published by Charles Heinrich Müller, of Halberstadt, in 1783, and another appeared in 1784, by Ernst Wilhelm Wolf (1735-92), court chapel-master in Saxe-Weimar, the writer of numerous other clavier sonatas and concertos showing great purity and originality of style. At the court of Frederick the Great, at Berlin, Christoph Nichelmann (1717-62), a pupil of Bach, and Carl Fasch (1736-1800) were successively second harpsichordists. Both wrote sonatas, those of the former in two movements, while those of the latter had generally three, of a brilliant and attractive style. Friedrich Wilhelm Marpurg (1718-95), the distinguished Berlin theoretician, was more successful in contrapuntal work than in his sonatas, written in freer style.
Georg Christoph Wagenseil (1715-77), pupil of J. J. Fux, court music teacher and celebrated clavier virtuoso, wrote sonatas for clavier and violin and a number for clavier alone.
Wilhelm Friedemann Bach.—Perhaps the most striking developments, however, were at the hands of the sons of J. S. Bach, who were all, having come under his direct instruction, of refined musical judgment, while some of them possessed marks of his genius. Of these, Wilhelm Friedemann Bach (1710-84), the eldest, called the Bach of Halle, from his long residence there, studied at the University of Leipzig, distinguishing himself in mathematics; was organist at Dresden and Halle successively, and finally came to Frederick the Great’s court, at Berlin, through the influence of his brother Carl. Although he possessed great gifts as a player and composer, his dissipated habits brought him to disgrace, and he died in poverty. He wrote many clavier compositions, showing a bold use of harmonies, and including sonatas which have decidedly instrumental themes and development. A large number of his father’s manuscripts known to have been in his possession have been irretrievably lost.
Johann Christian Bach, the London Bach, youngest of J. S. Bach’s sons, was born at Leipzig in 1735, and died at London in 1782. He studied with his brother, Carl, after his father’s death, and, afterwards going to Italy, became organist at the Milan Cathedral. Gaining great favor in this capacity, he was appointed concert-director at London in 1759, and there he became a popular favorite, producing several operas and receiving the appointment of music master to the royal family. His Italian experiences influenced his sonata writing, as his subjects are in the style of the popular, though somewhat trivial Italian melody. Yet he introduced some striking improvements, notably that of employing a second contrasting subject, instead of a mere modulating or closing passage, at the end of the first and third sections of the sonata form. His graceful and melodious works were fashionable in London society.
C. P. E. Bach.