year (1735) Emanuel left his father’s house in order to study jurisprudence at Frankfort-on-the-Oder; three years later, however, he went to Berlin, and as cembalist entered the service of Frederick the Great (1740).[56] Already in his father’s house, the young student saw and heard many distinguished musicians; he himself has told us that no musician of any note passed through Leipzig without seeking an opportunity to meet his father, so famed as composer and as performer on the organ and clavier.  And again, afterwards, at the Court of Prussia, he came into contact with the most notable composers and performers of his day.  From among these may be singled out C.H.  Graun (composer of the “Tod Jesu”) and Georg Benda.[57] Graun was already in the service of Frederick when the latter was only Crown Prince.[58] It would be interesting to learn the special influences acting upon Emanuel before he published his first set of sonatas in 1742, but this is scarcely possible.  The collection of symphonies[59] or sonatas published at Leipzig in 1762, mentioned in our introductory chapter, gives, however, some idea of the music of that period; and it is possible that many of the numbers were written before Emanuel Bach published his first works.  The “Sammlung Vermischte Clavierstuecke fuer geuebte und ungeuebte Spieler,” by Georg Benda, may also be mentioned; it is of great interest, especially the Sonata in C minor.  The character of the music and style of writing for the instrument constantly remind one of Emanuel Bach.  Benda, born in 1721, joined the King of Prussia’s Band in 1742, and soon became known as an experienced performer on the harpsichord.  Unfortunately it is impossible to ascertain the dates of composition of the various pieces of this collection, and thus to find out whether Benda was an imitator of Bach or vice versa; the collection itself was only published at Gotha in 1780.

The Italian taste in music which prevailed at the Prussian Court[60] had undoubtedly a marked influence on Bach, and one for good.  The severe counterpoint of the North German school and the suave melody of the Sunny South blended together with happy results.

It is customary to speak en bloc of Emanuel Bach’s sonatas; if, however, the earlier be compared with some of the later ones, interesting differences may be detected, and developments traced.  But the composer’s artistic career, unfortunately, does not show a steady, regular advance such as we find in J.S.  Bach or Beethoven.  C.H.  Bitter, his biographer and enthusiastic admirer, has to confess that he was a practical man, and that he wrote at times to please pupils and amateurs; while, occasionally, his aim may have been pecuniary gain.