J.C. Bach

Paul Corneilson has been managing editor of Carl Philipp Emanuel Bach: The Complete Works, published by The Packard Humanities Institute, since 1999. He received his doctorate at the University of North Carolina, Chapel Hill, in 1992, and also worked on the New Grove Dictionary of Opera and Recent Researches in Music, A-R Editions. He has published extensively on singers in the late eighteenth century and has edited two operas by J.C. Bach for performance: Zanaida at the Bachfest in 2011, and Lucio Silla at the Mozartwoche in 2013.

• Contents: Introduction. Part I Biographical: Christian Bach in London, Daniel Heartz; When did the youngest Bach son behin his ‘Italian journey’?, Hans-Joachim Schulze; J.C. Bach, G.B. Sammartini, and Padre Martini: a Concorso in Milan in 1762, Howard Brofsky; The Davies sisters, J.C. Bach and the glass harmonica, Betty Matthews; The ‘Paris’ Bach, Stephen Roe; J.C. Bach goes to law, John Small; J.C. Bach and ‘new music, at a more reasonable expence’, Stephen Roe; Abel, Christian Bach, and Gainsborough, Daniel Heartz. Part II Instrumental Music: Johann Christian Bach and the early classical Italian masters, Daniel E. Freeman; J.C. Bach and the early piano in London, Richard Maunder; The wind music of J.C. Bach, Stanley Sadie; Johann Christian Bach, Adena Portowitz; J.C. Bach’s symphonies and the Breitkopf thematic catalogue, Niels Krabbe; ‘For instruments not intended’: the second J.C. Bach lawsuit, Ann van Allen-Russell; Johann Christian Bach and the church symphony, Jen-yen Chen; Johann Christian Bach (1735-82), Jane R. Stevens; Social and musical matters pertaining to J.C. Bach’s third set of keyboard concertos, Bryan Gillingham. Part III Vocal Music: The newly rediscovered autograph manuscripts of Johann Christian Bach’s Milan sacred music at the Staats- und Universitätsbibliothek Hamburg (ND VI 540, Vols. 1-4), Stephen Roe; J.C. Bach’s Gioas, re di Giuda: a meeting of metastasian and Handelian tradition, Kenneth Nott; J.C. Bach’s operas, Ernest Warburton; The misadventures of Artaserse (Turin, 1760): J.C. Bach’s first Italian opera from production to performance, Margaret R. Butler; Mozart and his elders: opera-seria arias, 1766-1775, Martha Feldman; Die Vertonungen der Arie ‘Non sò d’onde viene’, von J. Chr. Bach und von W.A. Mozart, Stefan Kunze; Introduction to Johann Christian Bach: Favourite Songs Sung at Vauxhall Gardens, Stephen Roe; Lucio Silla, by Mozart and J.C. Bach, Ernest Warburton; The case of J.C. Bach’s Lucio Silla, Paul Corneilson; J.C. Bach’s La clemenza di Scipione, Ernest Warburton; The application of the sonata principle to structure in La clemenza di Scipione by J.C. Bach, Virginia Palmer. Name index.