By Donald Francis, Sir Tovey
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Additional resources for A Companion to Beethoven's Pianoforte Sonatas: Complete Analyses
E. Bach and the German harpsichordists Of Bach's many sons, four stand out in the history of music: Wilhelm Friedemann, Carl Philipp Emanuel (sons of his first wife Maria Barbara), Johann Cristoph Friedrich and Johann Christian (sons of his second wife Anna Magdalena). At first sight there does not seem to be any great difference between their lives as musicians and the patriarchal habits of their father: they were all church organists and maestri di cappella, and they all earned their living, with varying degrees of distinction, in the conservatism of the German states.
The sixth sonata of the 'Probestticke' concludes (if one can really use this term) with a fantasia; the sonatas with 'altered repeats' explicitly contradict the sonata principle of the recapitulation that goes back over what has already been heard without changing it. The increase in rondos and fantasias in the late collections is another sign of the direction in which the composer's views on form were leading. 24 C. P. E. Bach Emanuel, furthermore, was not an easily inspired musician; he had not inherited his father's fluent eloquence and lacked the persuasive conversational style typical of even the least inspired moments of the Italian galant composers.
Yet it is significant that his musical style did develop and that the remarkable change in his surroundings did leave its mark; in this receptivity Rutini again showed himself to be a more modern artist than the others. If the musicians discussed above distinguished themselves to some extent by their personal traits, there were many other Italian composers of keyboard sonatas. ), active in Bavaria and Madrid, and three composers all in varying degrees based in London - Domenico Alberti (born between 1710 and 1717), Giovanni Battista Pescetti (1704-66) and Mattia Vento (1735-76).
A Companion to Beethoven's Pianoforte Sonatas: Complete Analyses by Donald Francis, Sir Tovey
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