Bach’s sons reached great eminence. The eldest was Wilhelm Friedemann (1710–1784), an unusually talented man on whom the father built great hopes. But while Friedemann inherited his father’s musical talent he did not have his character, and was looked upon as a disgrace to the family on account of his dissolute ways. He was the greatest organist of his time and most of his compositions, which were considered very fine, have been lost to the world, for he did not take the trouble even to write them down, but played them from memory. The third son, Karl Philip Emanuel (1714–1788), although trained to be a lawyer, could not resist the urge of music, and after going through two universities decided to become a musician to Frederick the Great. He was “general manager” of all the music at court until the Seven Years’ War put an end to his position after almost thirty years’ service. He then spent the rest of his life in Hamburg. As composer, conductor, teacher and critic his influence was great. He was loved and respected by the whole city. In his day he was regarded as being as important as his father, but we know that he was not in the same class, although he was the greatest of his contemporaries. He did not imitate his father’s style but developed the sonata into the form that Haydn, Mozart and Beethoven perfected. He was an innovator, not only in form, but in the treatment of melody and harmony. His best sonatas were written at the court of Frederick the Great. In the growth of music he is the link between his immortal father and Haydn. Haydn was more gifted than he and made the seeds planted by Philip Emanuel blossom luxuriantly. Johann Christoph (1732–1795) was an upright, modest, amiable man, and a splendid musician keeping up the family traditions. Johann Christian (1735–1782), the youngest of those who outlived the father, might be called the Italian Bach, because he went to Italy in 1754, became organist of the Milan Cathedral, and wrote vocal music in the Neapolitan style. He left his position as organist, married an Italian prima donna, wrote many operas and spent the last twenty years of his life in London, as director of concerts. Curious as it may seem, the great and gifted Bach family died out in 1845, with a grandson of Johann Sebastian. Out of twenty children there seems not to have been one to carry the line to the present day. CHAPTER XIX Handel and Gluck—Pathmakers GEORGE FREDERICK HANDEL—MASTER OF ORATORIO (1685–1759) In the last chapter we saw Bach rescue music from the danger of emptiness and frivolity, by perfecting polyphonic music and dignifying church music as it had not been since Palestrina.