Joseph Siegmund Bachmann (1754-1825) - Fugha Per Piano Forte
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♫ Recovery project of sheet music by Johann Michael Haydn (1737-1806) and by other neglected composers ♫
Composer: Joseph Siegmund Bachmann (1754-1825)
Work: Fugha (C-Dur) Per Piano Forte
1. Fugha 0:00
2. Poco adagio 4:09
3. Allegro 8:43
Software: Sibelius
Instrument: Fortepiano (1796) by Joseph Dohnal (1759-1829)
World Premiere: No
Real performance: https://youtu.be/0l7aasn6jm8
Sheet music (pdf): https://ks15.imslp.org/files/imglnks/usimg/c/c9/IMSLP464827-PMLP524931-Keyboard_Sonata_in_C_major.pdf
Sheet music (xml): https://www.mediafire.com/file/o8gxth4gxc3iyv0/BACHMANN-Fugha.xml/file
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Sixt (Joseph Siegmund Eugen) Bachmann
(Kettershausen, 18 July 1754 - Reutlingendorf, 18 October 1825)
German organist and composer. A child prodigy, he probably received his earliest instruction in music from his grandfather Franz Joseph Schmöger, choral director and organist in Markt Biberbach. It was there on 5 or 6 November 1766 that the famous organ contest between Bachmann and the ten-year-old Mozart took place, from which both emerged with credit. In 1771 he entered the Premonstratensian monastery in Obermarchtal, where he took his vows in 1773 and was ordained to the priesthood in 1778. There he met the writer Sebastian Sailer, whose 'Schriften im schwäbischen Dialekte' he later edited (1819). In Obermarchtal he taught music and directed choirs, and was professor of theology (from 1800). He was also responsible for the monastery parish of Reutlingendorf (1779, 1789, 1796-99); he then became pastor in Seedorf but returned to Reutlingendorf in 1800. In 1803 the monastery in Obermarchtal was dissolved and he settled in Reutlingendorf. Bachmann obtained his grounding in composition principally from the study of theoretical works, especially G.J. Vogler’s. His output includes piano sonatas characterized by contrapuntal technique and monothematic movements; he also wrote organ works and ecclesiastical music combining (according to Wilss) the new homophonic style with the traditional contrapuntal language of church music. Gerber stated that one of his sonatas was arbitrarily altered by the Viennese publisher Hoffmeister.