Symphony Op. 18 no 4 in D major

1.    Allegro con spirito
2.    Andante
3.    Rondo. Presto

The youngest surviving son of Johann Sebastian Bach, John Christian was born Johann, but adopted the English form of his name in later life. His early training was with his father, but his own musical preferences led him first to Italy, and then to England, where he accepted an invitation to become composer to the King's Theatre in London, and then music master to Queen Sophie-Charlotte.

Bach very soon became established as the leading figure of the day in London's musical world; Gainsborough painted his portrait, and the French philosopher Didert was a close acquaintance. Bach became Mozart's friend and mentor, having first met the child prodigy when he visited London with his father Leopold in 1764. Bach was an unrivalled exponent of the gallant style and exercised a strong influence on the musical development of the young Mozart, the link is evident in the very first bar, which has a dotted rhythm much used by Mozart in many of his own compositions, particularly several of the later piano concertos.

Although he died deeply in debt and until recently his music has been largely ignored, during his lifetime he was without doubt the most successful of all the musical Bach sons. On hearing the news of his death, Mozart wrote to his father: "Have you heard that the English Bach has died? What a loss to the world of music!"   

The Symphony Op. 18 no 4, sometimes called ‘Sinfonia and Grand Overture’ is thought to have been written around 1780, although the second movement is taken from the composer’s overture to his earlier opera “Temistocle”, first performed in Mannheim in 1772. Many of J C Bach’s works, including this one, were first published in London by William Forster, who is known to have taken certain liberties with the orchestral parts, presumably on commercial grounds. Thus the original scoring from the opera includes a trio of basset horns, but here their parts have been written for flutes, violas and bassoon.

The short symphony lasts for little over twelve minutes in total, and provides a fascinating link between the baroque and classical worlds.