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 Clavierstücke für geübte und ungeübte 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 versâ_; 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.