Excerpt from the third movement. ISBN:
Johann Christian Bach (1735 –1782) the eleventh child and youngest son of Johann Sebastian Bach was a composer of the early Classical era. He is sometimes referred to as "the London Bach" or "the English Bach", due to his time spent living in London, where he came to be known as John Bach. He is noted for influencing the concerto style of Mozart.
His distinguished father was already 50 at the time of his birth, which would perhaps explain the sharp differences between his music and that of his father. Johann Sebastian Bach died when Johann Christian was only fifteen.
Johann Christian composed cantatas, chamber music, keyboard and orchestral works, operas and symphonies. He enjoyed a promising career, both as a composer then and performer.
Johann Christian's highly melodic style differentiates his works from those of his immediate family. His Galante style incorporating fluid melodies, balanced periodic phrases with primary emphasis on melody and accompaniment, without too much contrapuntal complexity. The Galante style preceded the classical style, which fused the Galante aesthetics with a renewed interest in counterpoint.
Quartetto, Op. 19, No. 4
The original quartet, W B64 - Quartet with 2 flutes Op. 19 No.4 is in C major. I have transposed it to the key of G to better facilitate the range of the guitar and maintain as much of the original tessitura as possible. The first movement, Allegro, moves at a brisk pace with plenty of interest for all the parts. While this early classical/galante style piece is typical melody and accompaniment, there is plenty of counter melody, alberti bass figures and fast passages in the 3rd and 4th to challenge your students. The second movement, a beautiful lilting andante in 6/8, has been transposed to C major. Similar in style to the first movement, there is again an abundance of interest and challenges in all the parts. Guitar three in particular has challenging solo sections with 32nd notes. The third movement, a lively Allegro, should be taken at slower tempo (app. 72-80 for the quarter note) due to the sextuplets in the 3rd part. Like the previous two movements it is well balanced with lots of melodic interest in all parts. This arrangement would work best with an advanced group and will make a great addition to your ensemble's concert repertoire.