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Donald Macleod explores JC Bach’s emerging interest in opera, including a commission from London.

Composer of the Week explores the life and music of the ‘English Bach’, Johann Christian Bach, whose blending of German technique with Italian lyricism in his music made him not only the leading composer in London but a favourite too with the likes of Mozart. He was the youngest son of JS Bach, and the first of Bach’s numerous sons to visit Italy, where he had lessons with Padre Martini. JC Bach spent much time composing sacred music whilst in Italy, but he soon got the opera bug, and it was a commission for the Haymarket theatre in London which enticed him to travel to England, where he remained based for the rest of his life. Bach became a music tutor to members of the royal family, and his operas were soon wowing London audiences. He also set up a famous series of London concerts with another musician, CF Abel. Celebrated singers of the age all wanted to perform arias by Bach, and when the Mozart family visited London, Bach became a mentor to the young Wolfgang Amadeus Mozart. JC Bach also produced operas for European stages in Paris and Mannheim, and his works became so popular that many pirated editions appeared in print during his lifetime.

JC Bach had his operatic debut in Turin in 1760, although the production was plagued by delays and cancellations. However, he was soon commissioned to compose a second opera for Naples, Catone in Utica, which was greatly applauded. A second commission came from Naples, but as Bach was still employed by Count Litta back in Milan, and also as an organist for Milan Cathedral, the Austrian Governor Count Firmian had to step in to ask for Bach to be allowed to remain in Naples to compose this new work for royal command. The opera was called Alessandro nell’Indie, and JC created some of his finest arias for the German singer Anton Raaff.

When Bach returned to Milan from Naples, he soon found himself in trouble with the authorities for flirting with female opera singers. Then in 1762, an offer came for another new opera from London. This led to further frustrations with the Milan authorities, so Bach tendered his resignation and left for England. Although the Haymarket wasn’t what he’d been used to as an opera house, Bach soon found that his works were very popular in London. Having lived there for only eighteen months, pirated editions of his music were now being regularly circulated, so much so that King George III granted him a Royal Licence and Privilege for the sole printing and publishing of his works. Soon Bach would be giving music lessons to the queen, and accompanying the king in chamber music.

Catone in Utica, W. G2 (Overture)
Hanover Band
Anthony Halstead, conductor

Beatus vir, W.E 17 (excerpt)
Thomas E. Bauer, bass
Süddeutscher Kammerchor
Concerto Köln
Gerhard Jenemann, director

Non so d’onde viene (Ezio)
Ben Johnson, tenor
The Mozartists
Ian Page, director

Zanaida, W. G5 (Overture)
Hanover Band
Anthony Halstead, director

Zanaida (Tortorella abbandonata)
Teodora Gheorghiu (Zanaida), soprano
Les Talens Lyriques
Christophe Rousset, conductor

Keyboard Concerto in D, Op 1 No 6, W. C54
Anthony Halstead, harpsichord
Hanover Band

Sinfonia in G, Op 3 No 6
Academy of St Martin in the Fields
Sir Neville Marriner, conductor

Hither turn thy wand’ring eyes
Maria Zadori, soprano
Capella Savaria
Pal Nemeth, conductor

Produced by Luke Whitlock