His lot was to be a life of half-hearted decisions, followed by an inglorious end.Īround 1727-1730, Bach introduced a new organ genre: the trio sonata. In any case, it is sad to see that Friedemann, unlike his younger brothers Carl Philipp Emanuel and Johann Christian, did not really succeed in finding his place in the new times – despite all the galant features of these sonatas. However much the six sonatas linked up to modern times in the eyes of father Bach, for Friedemann they may have been the silken cords that bound him to the ambitions of his old-fashioned father. Because although he was armed with golden hands and an exemplary education, he was a late exponent of a style period that was rapidly dying out. But it is questionable whether his father’s interference actually made him happy. Bach wrote and signed the application letter for his twenty-two-year-old son himself, and also composed the piece he had to play for his audition ( BWV 541).įather Bach’s well-intended concern may have been inspired by Friedemann’s earlier failure to gain a position in Halberstadt. He became the organist of the Sophienkirche in Dresden, where an organ by Bach’s good friend Silbermann had been inaugurated thirteen years earlier. And in 1733 they did indeed take Wilhelm Friedemann where his father wanted to see him. It is a highlight of organ literature, in which Bach combines innovation (also with regard to style) with high technical demands.īach must have been convinced that these sonatas would dot the i’s and cross the t’s of his son’s musical education. This supremely Italianate piece is the first of them. When he was about twenty, his father compiled six organ trio sonatas for him. He started before his son’s tenth birthday, when Wilhelm Friedemann was already showing great talent. There was nobody for whom Bach composed and compiled more music – and music that was so personally tailored. This sonata is part of a collection Bach put together for his son Wilhelm Friedemann.
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