A Disciple of Emanuel Bach

Although much has been written about Emanuel Bach, it is probable
that the full extent of his genius remains yet to be recognized.
He was the greatest clavier player, teacher and accompanist of
his day; a master of form, and the pioneer of a style which was a
complete departure from that of his father. Haydn's enthusiasm
for him can easily be explained. "I did not leave the clavier
till I had mastered all his six sonatas," he says, "and those who
know me well must be aware that I owe very much to Emanuel Bach,
whose works I understand and have thoroughly studied. Emanuel
Bach himself once complimented me on this fact." When Haydn began
to make a name Bach hailed him with delight as a disciple, and
took occasion to send him word that, "he alone had thoroughly
comprehended his works and made a proper use of them."

This is a sufficient answer to the absurd statement which has
been made, and is still sometimes repeated, that Bach was jealous
of the young composer and abused him to his friends. A writer in
the European Magazine for October 1784, says that Bach was
"amongst the number of professors who wrote against our rising
author." He mentions others as doing the same thing, and then
continues: "The only notice Haydn took of their scurrility and
abuse was to publish lessons written in imitation of the several
styles of his enemies, in which their peculiarities were so
closely copied and their extraneous passages (particularly those
of Bach of Hamburg) so inimitably burlesqued, that they all felt
the poignancy of his musical wit, confessed its truth, and were
silent." Further on we read that the sonatas of Ops. 13 and 14