BACH, Johann Christian (1735-1782) - Symphonien

Johann Christian Bach (Leipzig, 5 de setembre de 1735 - London, 1 de gener de 1782) va ser un compositor alemany. Onzè i darrer fill de Johann Sebastian Bach, va rebre les seves primeres lliçons musicals del seu pare. El 1750, després de la mort d'aquest últim, es va traslladar a Berlín per estudiar amb el seu germà Carl Philipp Emanuel Bach. Entre els anys 1754 i 1760 va romandre a Itàlia com a director musical de la cort d'Antonio Litta a Milà. Des del 1760 fins el 1762, va ser organista de la catedral d'aquesta ciutat i va compaginar aquest càrrec amb els seus estudis a Bolonya, sota la tutela del compositor italià Giovanni Battista Martini. El 1762, es va instal·lar a Londres, on va exercir com a professor de la reina. Part del seu èxit es va deure al seu mestratge en la dolça i melòdica òpera italiana, llavors de moda a la capital britànica. Des del 1764 fins a la seva mort va organitzar, juntament amb el compositor alemany establert a Londres Carl Friedrich Abel, una sèrie de concerts molt cèlebres gràcies als compositors que sovint hi participaven. Un d'aquests compositors va ser el nen prodigi de set anys Wolfgang Amadeus Mozart amb qui va compartir una gran amistat i admiració mútua. La música de Johann Christian es va diferenciar de la dels seus germans Wilhelm Friedemann i Carl Philipp ja que va ser més melòdica i d'estructura més brillant. Va compondre en estil galant, el qual es va caracteritzar per un fraseig equilibrat, l'èmfasi en la melodia i l'acompanyament i escassa complexitat en el contrapunt. L'estil galant rebutjava les intrincades línies de la música barroca, estimant-se més les melodies fluides en frases periòdiques. Va precedir l'estil clàssic, que va fusionar l'estil galant amb un renovat interès pel contrapunt. Bach va compondre una dotzena d'òperes, diverses simfonies, concerts, obres per a piano, música de cambra i nombrosa música religiosa. Johann Christian Bach va morir a Londres el gener de 1782.


OBRA:
printed works published in London unless otherwise stated

Vocal secular:

Operas:
drammi per musica in 3 acts unless otherwise stated; facsimiles of librettos in CW xliii–xlvii
LCGLondon, Covent Garden
LKHLondon, King’s Theatre in the Haymarket

G1217; xlArtaserse (P. Metastasio), Turin, Regio, 26 Dec 1760, CW i
G2222; xlii, xliiiCatone in Utica (Metastasio), Naples, S Carlo, 4 Nov 1761, CW ii
G3212; xxxiiAlessandro nell’Indie (Metastasio), Naples, S Carlo, 20 Jan 1762, CW iii; staged with his Cantata a tre voci
G4237; xlviiOrione, ossia Diana vendicata (drama, 3, G.G. Bottarelli), LKH, 19 Feb 1763, CW iv and xii; rev. LKH, 24 May 1777
G5241; xlixZanaida (Bottarelli), LKH, 7 May 1763, CW iv and xii
G6211; xxxiAdriano in Siria (Metastasio), LKH, 26 Jan 1765, CW v
G42—The Fairy Favour (masque, 1, T. Hull), LCG, 29 Jan 1767, lib CW xlv, music lost [perf. by children as afterpiece]
G7221; xliCarattaco (Bottarelli), LKH, 14 Feb 1767, CW vi
G8283/3; xlviiiTemistocle (Metastasio, rev. Verazi), Mannheim, Hof, 5 Nov 1772, CW vii
G9232; xlvLucio Silla (G. De Gamerra, rev. Verazi), Mannheim, Hof, 5 Nov 1775, CW viii
G10229; xlivLa clemenza di Scipione (serious op, 3), LKH, 4 April 1778, CW ix
G39215; xxxiiiAmadis de Gaule (tragédie lyrique, 3, P. Quinault, rev. A.-D.-M. de Vismes du Valgay), Paris, Opéra, 14 Dec 1779, CW x

Insertions in operas and pasticcios:
G Inc 2251/4G. Cocchi: Emira, Milan, Jan 1756: 3 arias; CW xii
G21252/2A. Ferradini: Demofoonte, Milan, 26 Dec 1758: 1 aria; CW xii
G23277/4F. Gassmann: Gli uccellatori, Turin, Carignano, 1 Sept 1760: ov.; CW xii
G1/3—Zenobia, Lucca, aut. 1761: 1 aria
G22275/3G.B. Lampugnani and others: La Giulia, Milan, carn. 1761: ov.; CW xii
G24273/2Il tutore e la pupilla (pasticcio, Bottarelli), LKH, 13 Nov 1762: ov., from Cantata a tre voci with new 2nd movt; CW ix
G25273/8; lAstarto, re di Tiro (pasticcio, Bottarelli), LKH, 4 Dec 1762: ov., from Alessandro nell’Indie, qt, 2 duets (lost), 5 arias (2 lost); CW ix
G26273/5La cascina, (pasticcio, Bottarelli), LKH, 8 Jan 1763: ov.; CW ix
G27272/5B. Galuppi and others: La calamita de’ cuori, LKH, 3 Feb 1763: ov.; CW ix
G2/18—Catone in Utica (pasticcio), Turin, carn. 1763: qt, La
G1/9b, YG12—G.M. Rutini: Gli sposi in maschera, Florence, aut. 1763: 2 arias, I-Fc
G21, G1/3—J.A. Hasse, rev. Cafaro: L’Issipile, Naples, 26 Dec 1763: 2 arias, P-La
G Inc 7244/1Menalcas (pastoral, J. Harris), Salisbury, 22/24 Aug 1764: 3 arias 2 choruses; CW xxv
G3/19, 22b225/1; xliiiEzio (pasticcio, after Metastasio), LKH, 24 Nov 1764: 2 arias from Alessandro nell’Indie; CW ix
G2/16219/3; xliBerenice (pasticcio), LKH, 1 Jan 1765: 3 arias (1 from Catone in Utica, others lost); CW ix
G43245/3The Maid of the Mill (pasticcio, I. Bickerstaffe), LCG, 31 Jan 1765: 1 aria, 1 duet; CW xxv
——Zophilette (pasticcio, J.-F. Marmontel), Paris, 17 May 1765: 2 ariettes (music lost)
G44246/1The Summer’s Tale (pasticcio, R. Cumberland), LCG, 6 Dec 1765: 2 arias, 1 duet; CW xxv
G6/20—Pharnaces, or The Revenge of Athridates (op, T. Hull), Dublin, Smock Alley, 12 Dec 1765: 1 aria; CW xxv
G2/3, 12; G3/18, 21238/1; xlviiiSifare (pasticcio), LKH, 5 March 1767: 4 arias; CW ix
G7/24, H24, H27liTom Jones (pasticcio, J. Reed, after A. Poinsinet, after H. Fielding, LCG, 14 Jan 1769: 3 arias; CW xxv
G2/4231/2N. Piccinni: Le contadine bizzarre, LKH, 7 Nov 1769: 1 aria; CW ix
G28231/3L’olimpiade (pasticcio, after Metastasio), LKH, 11 Nov 1769: 1 aria; CW ix
G28256/2F. Tenducci and others: Amintas (op., R. Rolt), LCG, 15 Dec 1769: 1 aria; CW xxv
G29, LG1234; xlviC.W. Gluck and P. Guglielmi: Orfeo ed Euridice, LKH, 7 April 1770: 6 arias (incl. 2 lost), 1 duet (lost), ballet music (lost), chorus (lost), CW ix; 3 arias, added 17 April 1770, ov. t346/8 added 30 April 1771, CW ix; rev. version, Naples, 4 Nov 1774, with new ov., 5 new arias, 5 choruses, ballets, CW xi; draft of discarded scena t251/5, D-Bsb*
LG2245/2The Flitch of Bacon (pasticcio, H. Bate), London, New Theatre, Haymarket, 17 Aug 1778: 1 aria; CW xxv
G45—The Genius of Nonesense (extravaganza, G. Colman), London, New Theatre, Haymarket, 2 Sept 1780: 1 aria, lost

Doubtful arias etc., incl. t250/5, 251/2–3, 252/1, 252/6–7, 253/2–5, 24 others, A-Wgm, Wn; B-Bc; CH-A, E; D-Bsb, Dl, Hs, LEb, LÜh, Mbs, MÜu; DK-Kc; GB-Er; I-Gl, MC, Nc, MAav, Tf, Rc; S-Skma; US-AAu, BEm

Other vocal:
Chamber duets:
H4–11—[8] duetti (P. Metastasio), S, S, bc, ? before mid-1762: 1 Io lo so; 2 Trova un sol; 3 Che ciascun per te sospiri; 4 Chi mai di questo core; 5 Ascoltami, o Clori; 6 Lascia ch’io posso; 7 Parlami pur; 8 Eccomi alfin [nos. 3, 5, rev. as op.4 nos.5, 6; others different from opp. 4, 6]; CW xvi
H12–17259/1Sei canzonette (Metastasio), S, S, bc, op.4 (1765/R): 1 Già la notte; 2 Ah rammenta oh bella Irene; 3 Pur nel sonno almen talora; 4 T’intendo sí, mio core; 5 Che ciascun per te sospiri; 6 Ascoltami, o Clori; CW xvi
H18–23260/2Sei canzonette (Metastasio), S, S, bc, op.6 (1767); 1 Torna in quell’onda; 2 Io lo so; 3 E pur fra le tempeste; 4 Trova un sol; 5 Chi mai di questo core; 6 Se infida tu mi chiami; CW xvi

Miscellaneous songs and arias:
G36a—Perchè sì ingrata, S, orch [another version of aria Cara ti lascio; cf G36b]; CW xlviii/3
G36b—Ah che gl’istessi numi … Cara ti lascio, S, orch [cf G36a]; CW xxi
H2—Der Weise auf dem Lande (O Wald! o Schatten grüner Gänge!), 16 April 1755, in Stammbuch of Friedrich Nicolai; CW xlviii/3
LG5247/1Infelice … Là nei regni, S, kbd 4 hands, pubd as A Favourite Scene and Rondo on the Duke of Nivernois Air (c1783); CW xvi, xlviii/3
H1—Mezendore (Herr Nicolaus Klimm erfand) (F. von Hagedorn), in F.W. Marpurg: Neue Lieder zum singen beym Clavier (Berlin, 1756); CW xlviii/3
G7/24258/1The London Lass (While Cecilia we admire), S, bc (c1772), based on Non è ver from Carattaco; CW xxv
G17252/3O Venere vezzosa (Horace, trans. G.G. Bottarelli), S, orch; CW xvi
LG4251/1Sentimi, non partir … Al mio bene (récit and rondo, after G. Roccaforte), S, pf, 2 vc, orch, as Rondeau … sung by Mr Tenducci at Messrs Bach and Abels Concert (1779); CW xvi
G35—Sventurata in van mi lagno, S, orch, after 1772; CW xvi
Doubtful: An Aeglen (Und fehlten dir der Schönheit holde Gaben (?Gemmingen) wYH1, in Oden mit Melodien, ii (Berlin, 1755); Farewell ye green fields, S/T, bc (Edinburgh, n.d.) [version of canzonette Ich schlief, da träumte mir], CW xxv; Ist das Leben nicht ein Traum?, D-LÜh; La sorte spietata t251/6, in B. Mengozzi: Méthode du chant du Conservatoire (Paris, 1803); Luci amate a voi non chiedo wYG15 (1777), CW xxv; Neptune (When an angry woman’s breast) t256/3, S/T, bc (c1762), CW xxv; [9] Solfeggi … del Sig. Giovanni Bach in Genova wYH7–15, S, bc, I-Gl; So oft ich meine Tobacks-Pfeife, D-Bsb; The World (When launched into life) (J.M. Perrin), S/T, orch (n.d.), CW xxv

Music for Vauxhall Gardens:
H24–7254/1A Collection of Favourite Songs sung at Vaux Hall by Mrs Weichsell (1766/R), S, orch: 1 By my sighs; 2 Cruel Strephon; 3 Come Colin; 4 Ah why shou’d love; CW xxv
H28–31254/5A Second Collection of Favourite Songs sung at Vaux Hall by Mrs Pinto and Mrs Weichsell (1767/R), S, orch: 1 In this shady blest retreat; 2 Smiling Venus; 3 Tender virgins [arr. from Non è ver from Carattico, rev. as Blest with thee in Tom Jones (pasticcio, 1769)]; Lovely yet ungratefull swain; CW xxv
H32—When chilling winter hies away, S, orch, music lost, text pubd (1768)
H33–6255/2A Third Collection of Favorite Songs sung at Vaux Hall by Miss Cowper (1771/R), S, orch: 1 Midst silent shades; 2 Ah seek to know; 3 Would you a female heart inspire; 4 Cease a while; CW xxv
H38–9—A Fourth Collection of Favorite Songs sung at Vauxhall Gardens (1779/R): 1 Oh how blest; 2 Hither turn thy wand’ring eyes; CW xxv
H40—Ode to Pleasure, S, S, S, T, chorus, orch, music lost, text in A Genuine Collection (London, 1766)
H41—Ode to Summer, 4 solo vv, chorus, orch, music lost, text in A Genuine Collection (London, 1766)
H42—The Pastoral Invitation (Ye nymphs and swains), S, S, T, orch, music lost, text in Westminster Journal, 2 July 1768; CW xxv (text only)
H37257/2See the kind indulgent gales: a Favourite Song sung by Mrs Weichsell at Vaux Hall Gardens (1777/R), S, orch [Eng. rev. of Se spiegò from Zanaida]; CW xxv

Folksong settings:
LH1—Braes of Ballanden (Beneath a green shade) (T. Blacklock), A, ob, vn, va, vc, kbd (1779); CW xxv
LH2257/3The Broom of Cowdenknows (How blyth was I each morn), A, 2 fl, 2 vn, bc (c1784); CW xxv
LH3—I’ll never leave thee (One day I heard Mary say) (R. Crawford), A, 2 fl, 2 vn, bc (c1784); CW xxv
LH4256Lochaber (Farewell to Lochaber) (A. Ramsay), A, 2 fl, 2 vn, bc (c1785); CW xxv
LH5—The Yellow-Hair’d Laddie, lost, attrib. Bach in S. Storace: Gli equivoci, 1786, A-Wn; arr. in last movt of pf conc. op.13 no.4

Transcriptions:
LG2250/2Ebben si vada … Io ti lascio (after P. Metastasio), acc. recit and rondo, S, pf, orch, pubd as The Favourite Rondeau sung by Mr Tenducci (c1778); ? from cant. Rinaldo ed Armida; expanded version of Ombra felice … Io ti lascio from M. Mortellari: Arsace, 1775; another version, No ’twas neither shape nor feature, in A Flitch of Bacon (1778, London); CW xvi
LG3251/7Mi scordo i torti miei … Dolce aurette, S, orch, c1778, recit and aria from G. Gazzaniga: Perseo ed Andromeda with new coda by Bach, D-Bsb, WRgs; CW xvi
—253/6Wenn nach der Stürme, aria, S, bc, in J.A. Hiller: Deutsche Arien und Duette (Leipzig, 1785), based on Allor che il vincitore from La clemenza di Scipione

Vocal religiosa:

F2199/4Attendite mortales, motet, T, orch, ? after 1767, 1st aria arr. from Carattaco; CW xviii
E17200/6Beatus vir (F), S, A, T, B, SATB, orch, 1758; CW xxiii
E16202/1Confitebor tibi Domine (E ), S, A, T, B, SATB, orch, 1759; CW xxiii
E5202/3Credo (C), SATB, orch; CW xx
E12202/4Dies irae; see [Messa de’ morti], below
E15202/6Dixit Dominus (D), S, A, T, B, SATB, orch, by March 1758; CW xxiii
E13203/3Domine ad adiuvandum (D), S, SATB, orch, 1758; CW xlviii
E14203/2Domine ad adiuvandum (G), S, A, SATB, orch, 1760; CW xxii
E3204/3Gloria in excelsis (D), S, A, T, B, SATB, orch, 1758/9; CW xix
E4204/1Gloria in excelsis (G), S, A, T, B, SATB, orch; CW xx
E2204/8Kyrie (D), S, T, SATB, orch; CW xix
F3205/2Larvae tremendae (D), motet, S, orch; CW xviii
E18206/3Laudate pueri (E), S, orch, Milan, 12 Aug 1758; CW xlviii
E19206/1Laudate pueri (G), S, T, orch, 1760; CW xxii
F5199/1Let the solemn organs blow (W. Dodd), anthem for Magdalen Chapel, London, c1764;
E7-9206/4[3] Lezioni del officio per gli morti, 1757: Parce mihi, Domine (B ), S, A, SATB, orch; Taedet animam meam (F), S, A, B, SATB, orch; Manus tuae (C), S, A, T, SATB, orch; CW xxi
E20207/1Magnificat (C), SATB, SATB, orch, 1758, inc.; CW xxii
E21207/2Magnificat (C), SATB, SATB; CW xxii
E22207/3Magnificat (C), S, A, T, B, SATB, orch, 1760; CW xxii
E11–12208/5, 202/4[Messa de’ morti], 1757: Requiem aeternam (F), Kyrie (F), SSAATTBB, orch; Dies irae (c), S, A, T, B, SSAATTBB, orch; CW xxi
E10207/5Miserere (B ), S, A, T, B, SATB, orch, 1757; CW xxi
F1—Pater noster, lost, sent with letter to G.B. Martini, 6 Sept 1757
E6208/4Regem cui omnia vivunt (F), invitatory, S, A, T, B, SATB, orch, 1757; CW xxi
E23209/3Salve regina (E ), S, orch; CW xviii
E24209/3Salve regina (F), S, orch; CW xviii
F4a and b209/5Si nocte tenebrosa (F), motet, S/T, orch (two versions); CW xviii
E25210/2Tantum ergo (F), T, orch, 1757; CW xlviii
E26209/7Tantum ergo (G), S, A, T, B, SATB, orch, 1759; CW xxiv
E27210/3Te Deum (D), 2S, 2A, 2T, 2B, SATB, SATB, orch, 1758, inc.; CW xxiv
E28210/5Te Deum (D), S, A, T, B, SATB, orch, 1762; CW xxiv

Oratorios, cantatas and serenatas:
G Inc 6244/6Ode on the Auspicious Arrival and Nuptials of … Queen Charlotte (Thanks to the God who rules the deep) (J.Lockman), S, SAB, vn, bc; CW xxv
G11—Cant. a 3 voci … per festeggiare il felicissimo giorno natalizio di sua Maestà cattolica, S, S, T, SATB, orch, Naples, S Carlo, 20 Jan 1762; CW xiii
G12—La Galatea (serenata, after Metastasio), 3vv, orch, London, Spring Gardens, 29 Feb 1764, music lost, lib in CW xlv
D1226: xlivGioas, re di Giuda (orat., after Metastasio), London, King’s, 22 March 1770; CW xvii
G41243/1Happy morn, auspicious rise! (? birthday ode for George III), S, S, A, T, SATB, SATB, orch [incl. arrs. from Gioas, re di Giuda]; CW xxv
G15248/3Endimione (serenata, after Metastasio), S, S, S, T, SATB, orch, London, King’s, 6 April 1772; rev. Mannheim, Hof, 24 July 1773, with scene by N. Jommelli; CW xiv
G16—La tempesta (cant., Metastasio), S, orch, ? London, Hickford’s Rooms, 17 May 1773, perf. Mannheim, c1776; CW xiii
G18247/2Amor vincitore (serenata), S, S, SATB, orch, London, King’s, 15 April 1774; CW xv
G19liCefalo e Procri (cant., ? G.G. Bottarelli), S, S, S, orch, London, Hanover Square Rooms, 26 April 1776; recit and aria pubd as Aurora: a Favourite Cantata. t248/1–2; CW xiii
G20250/2Rinaldo ed Armida (cant.), 3vv, orch, London, Hanover Square Rooms, 20 May 1778, lost except 1 recit and aria (c1785), A-Wn, B-Bc, D-Bsb, Mbs, F-Pn, GB-Lbl, I-PEsf, Vc
G38—Berenice che fai! (scena), S, orch, music lost, lib in CW xlv

Doubtful:
YE4202/7Domine ad adiuvandum (C), S, SATB, str, GB-Lbl
YE7—Expugna impugnantes me (d), SSATB, CW xxiv
YE3—Gloria solenne (C), S, A, T, B, SATB, orch, inc.; CW xxiv
YE5—Laudate pueri (B ), S, orch; CW xxiv
YE1204/7Messa in pastorale (Ky-Gl) (D), SATB, orch, Lbl (attrib. F. Durante)
YE2204/6Messa a più voci (Ky-Gl) (G), SATB, orch, Lbl (attrib. Durante)
YE6208/6Salve regina (D), S, S, A, T, B, SSATB, orch, Lbl

Instrumental:

Orch.:
Symphonies and overtures:
for 2 oboes, 2 horns and strings unless otherwise stated
G4, 27, 1, 24, 26, 25272/2Six Favourite Overtures (1763): ovs. to the operas: 1 Orione (D), 2 ob, 2 hn, 2 bn, str; 2 La calamita de’ cuori (D); 3 Artaserse (D); 4 Il tutore e la pupilla (C); 5 La cascina (G); 6 Astarto (= Alessandro nell’Indie) (G); no.2 in VI sinfonie a più stromenti composte da vari autori op.13 (Paris, 1762); no.3 in VI sinfonie a più stromenti composte da vari autori op.12 (Paris, 1761); arr. kbd (1763)
G23B277/4The Periodical Overture no.1 (D) (1763): ov. to Gli uccellatori
C1–6262/1Six simphonies (D, C, E , B , F, G), 2 ob/fl, 2 hn, str, op.3 (1765), =w C1a–6a, CW xxvi; arr. Bach as Six Overtures Composed and Adapted for the Harpsichord (c1769), =wC1b–6b, t347/2, CW xlii
G22B275/3An Overture in 8 parts (D) (1766); corrected version of Periodical Overture no.xv (1766): ov. to La Giulia
C16a276/3Symphony (C), as no.46 in Sinfonie a più stromenti composte da vari autori (Paris, 1770/71), CW xxvii; with different 2nd and 3rd movts wC16b, CW xxix
C7–12264/1Six simphonies (G, D, E , B , E , g), 2 ob/fl, 2 hn, str, op.6 (Amsterdam, 1770); nos.3–5 in Six simphonies périodiques op.8 nos.1, 5, 6; CW xxvi–xxvii
C9, 13–15, 10–11266/5Six simphonies périodiques (E , G, D, F, B , E ), 2 ob/fl, 2 hn, str, op.8 (Amsterdam, c1775); nos.1, 5, 6 = op.6 nos.3–5; CW xxvi–xxvii
C17–19268/3Trois simphonies (B , E , B ), 2 ob/fl, 2 hn, str, op.9 (The Hague, 1773) [also as op.21]; no.1, 2 cl, 2 bn, 2 hn, str, in Six sinfoni … par J.C. Bach, Toesky et Stamitz (Paris, 1773); no.2 with addl movt (Paris, ?1776); 2 movts from no.2 arr. kbd in J.A. Hiller: Sammlung kleiner Clavier- und Singstücke (Leipzig, 1774), ed. S. Staral (Graz, 1981); no.1 ed. in EDM, 1st ser., xxx (1956); CW xxvii (nos.1 and 2), iv (no.3)
C26, G9, G15, C27, C28, XC1269/4Six Grand Overtures (E , B , D, D, E, D), 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str, op.18 (c1782); nos.1, 3, 5 for double orch (2 ob, bn, 2 hn, str; 2 fl, str); no.1, I-Gl [dated 1779]; no.2 = ov. to Lucio Silla; no.3 = ov. to Endimione; no.4 = no.2 of t271/6, Deux sinfonies op.18; 2nd movt of no.4 = arr. of 2nd movt of ov. to Temistocle; no.6 arr. from Amadis de Gaule; CW xxviii
XC2, C27271/6Deux sinfonies à grand orchestre (D, D), 2 fl, 2 ob, 2 bn, 2 hn, str, op.18 (Amsterdam, c1785); 1st movt of no.1 = ov. to La clemenza di Scipione, 2nd movt = Andante from ov. to Amadis de Gaule; no.2 = no.4 of t269/4, Six Grand Overtures op.18; CW xxviii
G27a—Sym. (D) (inc., = ov. to La calamita de’ cuori with different finale), CW xxix; Sym. (D), 2 ob/fl, 2 hn, str, CW xxix
G27b—Sym. (D), 2 ob/fl, 2 hn, str, CW xxix
—279/4Sym. (F), CW xxix
C Inc 4279/7Sym. (F), 2 ob, 2 hn/tpt, str, CH-A, Bu, E, I-MAav; CW xxix
C Inc 3282/5Sym. (E ), as Divertimento notturno (Paris, before 1775); CW xxvii
C84361/7Menuett (F), for Her Majesty’s birthday, 1767; CW xxv
C85361/8Menuett (C), for Her Majesty’s birthday, 1769; CW xxv
Lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790): Sym. in 6 pts, before 1755; ov. in 6 pts, before 1755
for doubtful and misattributed works see wYC1–83

Symphonies concertantes:
instruments listed as concertante; ripieno
C32284/1Sinfonia concertante (G), 2 vn, vc; 2 fl, 2 hn, str, ?c1760 (Paris, by 1772); CW xxx
C33284/6Concert ou symphonie (E ). 2 vn, ob; 2 fl, cl, bn, 2 hn, str (Paris, 1773); CW xxx [also as pf conc., wC75, t300/8]
C34284/4Simphonie concertante (A), vn, vc; 2 ob, 2 hn, str (Paris, by 1775); CW xxx
C36a286/1Sym. conc. (C), 2 vn, vc; 2 fl, 2 ob, 2 hn, str, CW xlviii/3; rev. version w C36b, CW xxx
C45286/4Sym. conc. (G), ob, vn, va, vc; 2 fl, 2 hn, str
C Inc 5—Sym. conc. (G), fl, 2 vn, vc; fl, 2 hn, str, doubtful; CW xxx
C44286/8Sym. conc. (E), fl, 2 vn, vc; 2 ob, 2 hn, str, by 1775; CW xxx
C38287/2Sym. conc. (F), ob, bn/vc; ob, 2 hn, str; CW xxxi
C46287/7Sym. conc. (B ), vc; 2 cl, bn, 2 hn, str; CW xlviii/3 formerly D-Bsb (see White, 1958)
C42288/4Sym. conc. (E ), 2 vn, vc; 2 ob, 2 hn, str; CW xxx [also as bn conc., wC82, t288/4]
C40288/7Notturno (E ), 2 ob, 2 hn/tpt, 2 vn, 2 va, vc; str; CW xxxi
C43289/4Sym. conc. (C), fl, ob, vn, vc; 2 fl, 2 cl, 2 bn, 2 hn, str; CW xxxi
C48289/7Sym. conc. (B ), ob, vn, vc, pf; 2 fl, 2 hn, str; CW xxxi
C39290/2Sym. conc. (D), 2 fl, 2 vn, vc; 2 hn, str, c1760; CW xxxi
C37290/4Sym. conc. (E ), fl, ob, bn; ob, 2 hn, str; CW xxxi
C41290/9Sym. conc. (E ), fl, 2 cl, bn, 2 hn; 1/2 fl, str; CW xxxi
C35—Concerto a più istrumenti (D), 2 vn; 2 ob/fl, 2 hn, str, ?doubtful; CW xxx
YC95—Sym. (B ), vn, vc (ad lib); 2 ob (ad lib), 2 hn, str, I-MAav, attrib. J.C. Bach in Breitkopf suppl. 1767, doubtful; probably by F.P. Ricci, op.9 no.2 (The Hague, London and Paris, c1775)

Concertos:
C74—Conc., hpd, before 1755, lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790)
C68–72298/15 concs. (B , f, d, E, G), kbd, str; CW xxxii
C73301/4Conc. (f), hpd, str, CW xxxii
C77—Conc, vc, before 1755, lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790)
C49–54292/1Six Concertos (B , A, F, G, C, D), hpd, str, op.1 (1763); CW xxxiii
C79286/7Conc. (D), fl, 2 hn, str; CW xxxvi
C55–60293/4Sei concerti (C, F, D, B , E , G), hpd/pf, str, op.7 (1770); CW xxxiii–xxxiv [cadenzas for no.5 and expanded solo pt of no.6, private collection, USA]
C62–7295/1A Third Sett of Six Concertos (C, D, F, B , G, E ), hpd/pf, str (2 ob, 2 hn ad lib), op.13 (1777); CW xxxv
C75300/8Conc. (E ), kbd, 2 fl, 2 cl, bn, 2 hn, str; CW xxxiv [also as sym. conc., wC42 t284/6]
C61301/1Conc. (E ), hpd/pf, str (2 hn ad lib), as op.14 no.1 (Paris, c1776); CW xxxiv
C80287/4Conc. (F), ob, 2 hn, str; CW xxxvi [also as fl conc. (G)wC78, private collection, USA]
C81290/7Conc. (F), ob, 2 hn, str; CW xxxvi
C83288/1Conc., (B ), bn, 2 ob, 2 hn, str; CW xxxvi
C82288/4Conc., (E ), bn, 2 ob, 2 hn, str; CW xxxvi [also as sym. conc., wC42 t288/4]
C76—Conc. (C), vn, 2 ob/fl, 2 hn, str; CW xlviii/3

Doubtful:
YC90–91297/1[2] Concerto (E , A), hpd, str (Riga, c1776), attrib. ‘I.C. Bach’, Breitkopf suppl. 1776–7, also attrib. C.P.E. Bach and J.C.F. Bach; no.1 ed. E. Praetorius (1937), no.2 ed. in Antiqua (1935)
YC92300/1Conc. (A), hpd, str, Bsb [? by C.P.E. Bach; also attrib. Schaffrath and C.H. or J.G. Graun]; ed. A. Hoffmann (Wolfenbüttel, 1963)
C Inc 6300/4Conc. (E), hpd, str, Dl

---

Chamber music:
B78302/1Sestetto (C), ob, 2 hn, vn, vc, kbd; CW xli [arr. kbd, vn in Three Favorite Quartetts and One Quintett (1785), = t311/3]
B Inc 5305/1Quintet (B ), 2 vn/ob, va, vc/bn, bc; CW xli
B70–75303/1Six Quintettos (C, G, F, E , A, D), fl, ob, vn, va, bc, op.11 (1774); CW xli
B76–7304/6Deux quintetts (D, F), op.22 (1785), fl, ob, vn, vc, kbd; CW xli [arr. kbd, vn in Three Favorite Quartetts and One Quintett (1785) = t311/2, 4]
B51–6306/1Six Quartettos (C, D, E , F, G, B ), fl, vn, va, vc, op.8 (1772); CW xl
B57–9309/13 qts (D, C, A), fl/vn, vn, va, bc, nos.1, 3, 5 in Six Quartettos … by Messrs Bach, Abel and Giardini (1776); CW xl
B60—Qt (B ), 2 vn, va, vc, no.1 in Six Quatuors … par J.C. Bach et C.F. Abel, op.14 (Paris, 1776); CW xl [also arr. eng hn, vn, va, vc, I-Gl; erroneously attrib. Haydn, hII:B4]
B66310/9Quartetto (G), vn, 2 vc, hpd, op.2 (Offenbach, 1783); CW xl [arr. hpd, vn in Three Favorite Quartetts and One Quintett (1785) = t311/5]
B61–4307/4Four Quartettos (C, D, G, C), op.19 (1784): nos. 1, 3, for 2 fl, va, vc; no.2 for fl, ob/fl, va, vc; no.4 for 2 fl, vn; CW xl [arr. hpd/pf, vn, fl, vc (c1787)]
B30–35314/5Six Trios (B , A, E , G, D, C), 2 vn, va/bc, op.2 (1763), also as op.4 (Amsterdam, 1767), in Breitkopf suppl. 1766 as first 6 of set of 12 (see also t317/5); CW xxxix
B36–41317/56 trios (G, D, E, F, B , E ), 2 vn, bc, in Breitkopf suppl. 1766 as second 6 of set of 12 (see also t314/5); CW xxxix
B43–8313/1Six sonates (F, G, D, C, D, E ), hpd, vn/fl, vc, op.2 (1764); CW xxxix
B42311/6Sonata (B ), 2 vn, vc, no.1 in Six Sonatas … by Messrs Bach, Abel and Kammel (1777); CW xxxix
B49–50323/52 sonatas (C, A), hpd/pf, vn, vc, nos.1–2 in Four Sonatas and Two Duetts op.15 (1778); CW xxxix
B Inc 3330/5Sonata (B ), harp, (vn, vc)/hpd, no.6 in Musical Remains, ed. E. Jones (c1796) [1st movt based on 1st movt of wB78; CW xxxix
B Inc 2317/7Trio sonata (G), 2 fl/vn, bc; CW xxxix
B20–26332/4[7] sonatas (F, D, G, A, G, D, F), hpd, vn; CW xxxviii
B27—Sonata (A), hpd, vn; CW xxxviii
B2–7322/1Six Sonatas (B , C, G, A, F, D), hpd/pf, vn, op.10 (1773), also for 2 vn, va, bc, op.17 (Paris, c1779); CW xxxviii [nos.1, 3, 5 arr. kbd, va da gamba, private collection, USA]
B8–9324/22 sonatas (D, B ), hpd/pf, vn, nos.3–4 in Four Sonatas and Two Duetts op.15 (1778); CW xxxviii
B10–15325/1Six Sonatas (D, G, C, A, D, F), hpd/pf, vn/fl, op.16 (1779/R); CW xxxviii [other versions of no.6, private collection, USA, and CW xlviii/3]
B16–19326/34 sonatas (C, D, E , G), hpd/pf, vn/fl, nos.1–4 in Four Sonatas and Two Duetts op.18 (c1781); CW xxxviii
——Sonata (F), hpd, va da gamba, private collection, USA [1st movt from op.10 no.5, 2nd movt from ob conc. wB80, t287/6

Wind music:
see Sadie for information on borrowed material and transcriptions
B Inc 7–12285/3Sei sinfonie (E , B , E , B , E , B ), 2 cl, 2 hn, [2] bn (1782); CW xxxvii
B79–82—Military Pieces [Quintette] (E , E , B , B ), 2 cl, 2 hn, bn (Dublin, c1794); CW xxxvii
B83–5359/33 military marches: Marche du régiment de Prince Ernst; Marche du régiment de Braun[schweig]; Marche du régiment de Wür[tte]mb[erg], all in E , 2 ob, 2 hn, bn; CW xxxvii [nos.2–3 arr. kbd, GB-Lbl (part autograph)]
B88–9360/12 Märsche … vom ersten … zweiten Batallion Garde-Regiment in Hannover (E , E ) 2 ob, 2 cl, 2 hn, 2 bn, no.2 spurious, by Abel, Lbl (part autograph); CW xxxvii
B86–7360/5Due marce … di cavalleria e d’infanteria (E , E ), 2 ob, 2 cl, 2 hn, bn; CW xxxvii [also arr. kbd, Lbl (part autograph)]
B90–93361/24 marches (E , E , E , B ); CW xxxvii [also arr. kbd, Lbl (part autograph)
YB85–6360/3Due marce … Prince Walles (E , E ), 2 cl, 2 hn, bn; spurious, by C.F. Abel

Keyboard:
for harpsichord unless otherwise stated
A22—Untitled piece [March]bwv Anh.131, in Clavierbüchlein for Anna Magdalena Bach; CW xlviii/3
A23–31—6 minuets (c, C, d, g, C, C), 2 polonaises (B , E ), aria (a), c1750; CW xlii
A13358/4Solo (a), ? before 1755; CW xlii
A14—Sonata (A ), I-Bc, Mc, MC; CW xlii
A16—Sonata (B ), Bc; CW xlii
A15—Toccata (b ), Bc, Mc, MC (as Sonata); CW xlii, xlviii/3 (2 versions)
A1–6338/1Six Sonatas (B , D, G, E , E, c), hpd/pf, op.5 (1766/R); CW xlii
C1b–6b347/2Six simphonies (D, C, E , B , F, G), op.3 (1769); CW xlii [see ‘Symphonies and overtures’]
A10b—A New Lesson (G), hpd/pf (1772) [early versions of movts from op.17 nos.4 and 1]
A21, 18340/52 duets (G, C): 1 for 2 hpd/pf, 1 for hpd/pf 4 hands, in Four Sonatas and Two Duetts op.15 (1778); CW xlii
A7–12341/1Six Sonatas (G, c, E , G, A, B ), hpd/pf, op.17 (1779/R), previously pubd as op.12 (Paris, 1773/4), CW xlii; other versions of nos.2–3, CW xlviii/3; see also A New Lesson, above
A19–20343/32 duets (A, F), hpd/pf 4 hands, in Four Sonatas and Two Duetts op.18 (1781); CW xlii
——2 marches (A, C), GB-Lbl (part autograph)

Doubtful:
4 canzonette (F, E , G, B ), 2 vn, t336/6, arr. of Sei canzonette op.6 nos.1, 4, 3, 2;
2 qts (F, C), fl/vn, va, vc, in L’anné musicale (Liège, 1776);
Qt (F), fl/vn, vn, va, vc I-Rdp; 2 qt (F, D), fl/vn, vn, va, vc, Gl;
Sonata (C), gui, vn (c1770), CW xxxviii;
Six Sonatas (C, G, D, A, E , B ), hpd/pf, vn/fl, op.19 (1783), t327/5;
Three [= 6] Sonatas [i, ii] (C, D, F, G, A, B ), hpd/pf, vn, op.20 (c1785), t329/1;
Trois sonates (E , B , D), hpd/pf, vn, op.21 (Paris, c1784), t344/2;
Sonata (F), hpd, fl, D-Bsb (2 copies: 1 attrib J.C. Bach, 1 attrib. C.P.E. Bach), US-Wc (attrib. ‘Sigr. Bach’), also attrib. W.F. Bach, ed. K. Marguerre (Celle, 1960), t332/1;
Sonata (D), vn, bc, D-Bsb, ?lost, t3323/5;
3 sonatas (D, G, C), fl, vn, A-Wn, t337/1;
Sonata (C), hpd/of, vn, in The Feast of Apollo (1788), t352/2;
Trio sonata (F), 2 vn, bc, lost, formerly D-Bsb, t318/8; for others see wYB1–86