He was brought to Bach from Konigsberg by Count Kaiserling, the Russian ambassador, of whose establishment he appears to have been a member.

Bach held him up as his oleverest and most industrious pupil, and with reason, for to immense executive power he joined an extraordinary faoility of improvisation, and of playing the most difficult music at sight

His works (as named by Gerber) are not important, and remain in MS.- a motet and a psalm for voices and orchestra; preludes and fugues, twenty four polonaises with variations; two concertos; a sonata, and six trios for flute, violin, and bass-all exhibiting a certain melancholy, and strong individuality.

During the Seven Years' War (1756-1763) he was 'Kammermusikus' to Count Brühl. Bach's Thirty Variations were written for Goldberg at the request of Count Kaiserling (in exchange for a golden goblet and 100 louis d'or), and he was accustomed to play them nightly to the Cout to lull him to deep. They are sometimes known as the Goldberg Variations.