Bach Carl Philipp Emanuel Versuch Ãâ¼ber Die Wahre Art Das Clavier Zu Spielen English Translation

German composer (1714–1788)

Carl Philipp Emanuel Bach
Carl Philipp Emanuel Bach, by Franz Conrad Löhr (after Johann Philipp Bach)
Built-in	8 March 1714 (1714-03-08) Weimar, Saxe-Weimar, Holy Roman Empire
Died	14 December 1788(1788-12-xiv) (anile 74) Hamburg, Holy Roman Empire
Works	List of compositions
Signature

Carl Philipp Emanuel Bach (eight March 1714 – 14 December 1788),^[1] as well formerly spelled Karl Philipp Emmanuel Bach,^[ii] and commonly abbreviated C. P. E. Bach, was a German Classical period musician and composer, the fifth child and second surviving son of Johann Sebastian Bach and Maria Barbara Bach.

C. P. E. Bach was an influential composer working at a fourth dimension of transition between his begetter'south Bizarre style and the Classical manner that followed it. His personal approach, an expressive and often turbulent one known as empfindsamer Stil or 'sensitive fashion', practical the principles of rhetoric and drama to musical structures. His dynamism stands in deliberate contrast to the more mannered galant style too then in vogue.^[iii]

To distinguish him from his brother Johann Christian, the "London Bach", who at this time was music master to the Queen of Great United kingdom of great britain and northern ireland,^[four] C. P. Eastward. Bach was known as the "Berlin Bach" during his residence in that city, and afterward as the "Hamburg Bach" when he succeeded Telemann every bit Kapellmeister in that location.^[5] To his contemporaries, he was known simply every bit Emanuel.^{[half dozen]} His second name was in laurels of his godfather Georg Philipp Telemann, a friend of Johann Sebastian Bach.

Bach was an influential pedagogue, writing the e'er influential "Essay on the true fine art of playing keyboard instruments", which would exist studied by Haydn, Mozart and Beethoven, among others.^[7]

Life [edit]

Early years: 1714–1738 [edit]

C. P. E. Bach was born on 8 March 1714 in Weimar to Johann Sebastian Bach and his starting time wife, Maria Barbara.^[2] He was their 5th child and 3rd son.^[one] The composer Georg Philipp Telemann was his godfather. When he was ten years old, he entered the St. Thomas School, Leipzig,^[2] where his father had go cantor in 1723.^[ane] He was ane of four Bach children to become professional person musicians; all four were trained in music almost entirely by their begetter. In an age of royal patronage, father and son alike knew that a academy pedagogy helped prevent a professional person musician from existence treated as a retainer. Carl, similar his brothers, pursued advanced studies in jurisprudence at the University of Leipzig in 1731^[2] and at Frankfurt-on-the-Oder in 1735.^[ane] In 1738, at the age of 24, he obtained his caste merely never practiced law,^[ane] instead turning his attention immediately to music.^[8]

Berlin years: 1738–1768 [edit]

Flötenkonzert Friedrichs des Großen in Sanssouci ("Frederick the Great's Flute Concert in Sanssouci") by Adolph von Menzel, 1852, depicts Frederick the Great playing the flute equally C. P. E. Bach accompanies on the keyboard. The audience (invented by Menzel, and not based on any actual occasion) includes Bach's colleagues as well as nobles.

Detail from previous prototype

A few months later graduation, Bach, armed with a recommendation by the Graun brothers (Johann Gottlieb and Carl Heinrich) and Sylvius Leopold Weiss,^[ix] obtained an date at Berlin^[2] in the service of Crown Prince Frederick of Prussia, the hereafter Frederick the Great. Upon Frederick's accession in 1740, Bach became a member of the majestic orchestra.^[i] He was past this time ane of the foremost clavier players in Europe, and his compositions, which engagement from 1731, include well-nigh thirty sonatas and concert pieces for harpsichord and clavichord.^[1] During his time there, Berlin was a rich artistic environment, where Bach mixed with many accomplished musicians, including several notable former students of his begetter, and of import literary figures, such equally Gotthold Ephraim Lessing, with whom the composer would become close friends.

In Berlin, Bach connected to write numerous pieces for solo keyboard, including a serial of grapheme pieces, the so-called "Berlin Portraits", including "La Caroline". His reputation was established by the two sets of sonatas which he published with dedications to Frederick the Great (1742) and to Charles Eugene, Duke of Württemberg (1744).^[1] In 1746, he was promoted to the post of chamber musician ( Kammermusikus ) and served the male monarch aslope colleagues like Carl Heinrich Graun, Johann Joachim Quantz, and Franz Benda.^[1]

The composer who well-nigh influenced Bach's maturing style was unquestionably his male parent. He drew creative inspiration from his godfather Georg Philipp Telemann, then working in Hamburg, and from contemporaries similar George Frideric Handel, Carl Heinrich Graun and Joseph Haydn. Bach's involvement in all types of art led to influence from poets, playwrights and philosophers such as Friedrich Gottlieb Klopstock, Moses Mendelssohn and Gotthold Ephraim Lessing. Bach's piece of work itself influenced the work of, among others, Haydn, Mozart, Beethoven and Felix Mendelssohn.

During his residence in Berlin, Bach equanimous a setting of the Magnificat (1749), in which he shows more than traces than usual of his father's influence;^[1] an Easter cantata (1756); several symphonies and concert works; at least three volumes of songs, including the historic Gellert Songs; and a few secular cantatas and other occasional pieces.^[one] Only his master work was concentrated on the clavier, for which he equanimous, at this fourth dimension, nearly two hundred sonatas and other solos, including the gear up Mit veränderten Reprisen (With Varied Reprises, 1760–1768).^[1]

While in Berlin, Bach placed himself in the forefront of European music with a treatise, Versuch über dice wahre Art das Clavier zu spielen (An Essay on the True Art of Playing Keyboard Instruments), immediately recognised as a definitive work on keyboard technique. "Both Haydn and Beethoven swore by it."^[7] Past 1780, the volume was in its third edition and laid the foundation for the keyboard methods of Clementi and Cramer.^[i] The essay lays out the fingering for each chord and some chord sequences. Bach'south techniques go along to be employed today. The first part of the Essay contains a affiliate explaining the various embellishments in work of the period, e.g., trills, turns, mordents, etc. The second part presents Bach's ideas on the art of figured bass and counterpoint, as well as performance suggestions and a brief department on extemporization, mainly focusing on the Fantasia.

Bach used for his performances instruments (clavichord and fortepiano) made by Gottfried Silbermann,^[10] at that time a well-known architect of keyboard instruments.^[11] In the contempo years one of the models of pianos that Bach was playing, Gottfried Silbermann 1749, was used as a model for making mod piano copies.^[12]

Hamburg: 1768–1788 [edit]

In 1768,^[one] afterward protracted negotiations,^[2] Bach was permitted to relinquish his position in gild to succeed his godfather Telemann as director of music ( Kapellmeister )^[1] at Hamburg. Upon his release from service at the court he was named courtroom composer for Frederick'southward sister, Princess Anna Amalia. The title was honorary, but her patronage and interest in the oratorio genre may have played a role in nurturing the ambitious choral works that followed.^[13]

Bach began to turn more of his energies to ecclesiastical and choral music in his new position. The job required the steady production of music for Protestant church services at the Michaeliskirche (Church of St. Michael) and elsewhere in Hamburg. The post-obit yr he produced his almost ambitious work,^[2] the oratorio Dice Israeliten in der Wüste (The Israelites in the Desert), a composition remarkable not merely for its great beauty but for the resemblance of its plan to that of Felix Mendelssohn's Elijah.^[ane] Betwixt 1768 and 1788, he wrote twenty-one settings of the Passion, and some 70 cantatas, litanies, motets, and other liturgical pieces.^[one] In Hamburg he besides presented a number of works past contemporaries, including his father, Telemann, Graun, Handel, Haydn, Salieri and Johann David Holland (1746–1827).^[14] Bach's choral output reached its apex in two works: the double chorus Heilig (Holy) of 1776, a setting of the seraph song from the throne scene in Isaiah, and the oratorio Die Auferstehung und Himmelfahrt Jesu (The Resurrection and Ascension of Jesus) of 1774–82, which sets a poetic Gospel harmonization past the poet Karl Wilhelm Ramler. Widespread admiration of Auferstehung led to three 1788 performances in Vienna sponsored by the Baron Gottfried van Swieten and conducted past Mozart.^[fifteen]

Bach married Johanna Maria Dannemann in 1744. Simply three of their children lived to machismo: Johann Adam (1745–89), Anna Carolina Philippina (1747–1804), and Johann Sebastian "the Younger" (1748–78). None became musicians and Johann Sebastian, a promising painter, died at age 29 during a 1778 trip to Italian republic.^[16] Emanuel Bach died in Hamburg on 14 Dec 1788.^[one] He was cached in the Michaeliskirche in Hamburg.

Works [edit]

Symphonies [edit]

Among Bach's near pop and frequently recorded works are his symphonies.^[17] While in Berlin, he wrote several cord symphonies (Wq. 173–181), nigh of which were afterward revised to add parts for air current instruments. Of these, the Due east minor symphony, Wq. 178, has been particularly popular.

In Hamburg, Bach wrote a major set of six string symphonies for Gottfried van Swieten, Wq. 182. These works were not published in his lifetime (van Swieten, who had commissioned them to exist written in a more "difficult" fashion, preferred to retain them for private use),^[18] but since their rediscovery, have become increasingly popular.

However, Bach's best works in the class (by his own interpretation)^[xix] are assuredly the four Orchester-Sinfonien mit zwölf obligaten Stimmen, Wq. 183, which, every bit their title suggests, were written with obbligato current of air parts that are integral to the texture, rather than being added on to an older string symphony. The showtime symphony (D major) in the set has been specially pop, seeing a continuous operation and publication tradition all the way through the 19th century, which makes it the earliest such symphony.^[19] Some of its more than unusual features accept been taken as characteristic of Bach's style:^[20] the work, although it is in D major, begins on a D major chord, which then turns into a D dominant-seventh chord, outlining Thou major. In fact, at that place is no cadency on D major (D major is not "confirmed" as the key of the piece) until the kickoff of the recapitulation, quite late in the slice.

Concertos [edit]

Bach was a prolific writer of concertos, peculiarly for keyboard. Like his father, he would oftentimes transcribe a concerto for diverse instruments, leading to bug determining which came first. For case, the three cello concertos (Wq. 170–172), which are cornerstones of that instrument'due south repertoire, have often been considered to be transcriptions of the harpsichord versions, but recent research has suggested that they might be originally for cello.^[21]

According to Bach, his finest keyboard concertos were the Sei concerti per il cembalo concertato, Wq. 43, which were written to be somewhat more than appealing, and somewhat easier to play.^[22] His other concertos were written for oboe, flute, and organ. Bach likewise wrote for more unusual combinations, including an E-apartment major concerto for harpsichord and pianoforte. Additionally, he wrote several sonatinas for i or more than keyboards and orchestra.

Sleeping accommodation music [edit]

Bach's bedchamber music forms something of a bridge between stereotypically Bizarre and Classical forms. On the one hand, he wrote trio sonatas and solo sonatas with basso continuo (including ones for harp and viola da gamba); on the other, he wrote several accompanied sonatas for piano, violin, and cello, which are more or less early piano trios, and 3 very popular quartets for keyboard, flute, and viola. Bach besides wrote 1 of the primeval pieces for solo flute, a sonata that is clearly influenced by his father'south Partita in A minor for solo flute, BWV 1013.

Keyboard sonatas [edit]

Bach was a prolific writer of keyboard sonatas, many of which were intended for his favored instrument, the clavichord. During his lifetime, he published more collections of keyboard music than anything else, in the following collections:

• Sei sonate per cembalo che all' augusta maestà di Federico Ii, re di Prussia, 1742 ("Prussian" sonatas), Wq. 48.
• Sei sonate per cembalo, dedicate all' altezza serenissima di Carlo Eugenio, duca di Wirtemberg, 1744 ("Württemberg" sonatas), Wq. 49.
• Achtzehn Probe-Stücke in Sechs Sonaten, 1753 ("Probestücke" sonatas), Wq. 63.
• Sechs Sonaten fürs Clavier mit veränderten Reprisen, 1760 ("Reprisen" sonatas), Wq. 50.
• Fortsetzung von Sechs Sonaten fürs Clavier, 1761 ("Fortsetzung" sonatas), Wq. 51.
• Zweite Fortsetzung von Sechs Sonaten fürs Clavier, 1763 ("Zweite Fortsetzung" sonatas), Wq. 52.
• Sechs Leichte Clavier Sonaten, 1766 ("Leichte" sonatas), Wq. 53.
• Half-dozen Sonates cascade le Clavecin à l'usage des Dames, 1770 ("Damen" sonatas), Wq. 54.
• Vi collections of Clavier Sonaten für Kenner und Liebhaber, 1779–87 ("Kenner und Liebhaber" sonatas), Wq. 55–59, 61.

Much of Bach'south energy during his last years was dedicated to the publication of the "Kenner und Liebhaber" collections (which as well include fantasias and rondos, see below).^[23]

Wq. 64:1–6 are half dozen sonatinas for keyboard, and Wq. 65:1–50 are 50 farther keyboard sonatas. The Sonata in Eastward-flat major, Wq. 65:7, is based on Solo per il cembalo, BWV Anh. Iii 129, No. 27 in the 2d Notebook for Anna Magdalena Bach.^[24]

Other keyboard works [edit]

Hands Bach'southward best-known slice is the Solfeggietto, Wq. 117/2, to the indicate that the introduction to The Essential C.P.E. Bach is subtitled "Across the Solfeggio in C Minor".^[25] Several of Bach's other miscellaneous keyboard works take gained fame, including the character slice La Caroline and the Fantasia in F-sharp minor, Wq. 67. Bach's fantasias, in detail, have been considered to testify him at his most feature: they are full of dramatic silences, harmonic surprises, and perpetually varied figuration.

Bach published three major collections of miscellaneous keyboard works during his lifetime: the Clavierstücke verschiedener Fine art, Wq. 112 of 1765, and the Kurze und Leichte Clavierstücke collections, Wq. 113–114 of 1766. The former includes songs, fantasias, dances, sonatas, fugues, and even a symphony and concerto for solo pianoforte (Bach was subsequently to publish an entire collection of keyboard versions of his symphonies).

He also wrote a set of half-dozen sonatas for the organ of Frederick the Great'southward sis Anna Amalia.

Music for mechanical instruments [edit]

Mechanical instruments such as the music box and musical clock were popular at the Prussian court, and C. P. E. Bach wrote 30 original compositions for these instruments, grouped together every bit Wq. 193.^{[26] [27]} At that time, Bach was courtroom musician to Rex Frederick the Great at Potsdam; the King, who was intrigued by mechanically reproduced music, had mechanical organ clocks built for the Metropolis Castle of Potsdam and for the New Palais.^[28]

Choral works [edit]

Throughout his lifetime, Bach worked on the Magnificat in D, Wq. 215. J. S. Bach was alive to hear it in 1749, and C. P. Due east. connected to revise and perform it as late as 1786. The work clearly shows the influence of J.S. Bach'south own Magnificat, including the striking resemblance of the Deposuit movements in both works.

His other important choral works include the Heilig (German Sanctus), Wq. 217, which he performed together with the Credo from his Father's Mass in B pocket-size, the oratorios Die Israeliten in der Wüste, Wq. 238 and Die Auferstehung und Himmelfahrt Jesu, Wq. 240, and 21 Passions.

Unpublished works [edit]

Many of C.P.Eastward. Bach's compositions and original manuscripts were stored in the archive of the Sing-Akademie zu Berlin where Bach lived from 1738 to 1768. This archive was packed during the Second World State of war and hidden to preserve it from Allied bombing, captured and sequestered past USSR forces in 1945, thus long believed lost or destroyed during the state of war.

The archive was discovered in Kyiv, Ukraine, in 1999, returned to Berlin in 2001, and deposited in the Staatsbibliothek. It independent 5,100 musical compositions, none e'er printed for the public, including 500 by 12 different members of the Bach family.^[29]

Legacy and musical style [edit]

Through the afterward half of the 18th century, the reputation of Carl Philipp Emanuel Bach stood very high,^[1] surpassing that of his male parent.^[7] Haydn and Beethoven admired him and "avidly" collected his music.^[seven] Mozart said of him, "Bach is the male parent, we are the children."^{[one] [thirty]}

His work is full of invention and, most importantly, farthermost unpredictability, and broad emotional range even within a unmarried piece of work, a style that may be categorized every bit empfindsamer Stil. Information technology is no less sincere in idea than polished and felicitous in phrase.^[1] His keyboard sonatas, for case, marker an of import epoch in the history of musical form.^[i] Lucid in style, delicate and tender in expression, they are even more notable for the freedom and variety of their structural design; they break abroad altogether from both the Italian and the Viennese schools, moving instead toward the cyclical and improvisatory forms that would become common several generations later.^[i]

He was probably the first composer of eminence who made free employ of harmonic color for its own sake.^[ane] In this mode, he compares well with the near important representatives of the First Viennese School.^[1] In fact, he exerted enormous influence on the North German School of composers, in item Georg Anton Benda, Bernhard Joachim Hagen, Ernst Wilhelm Wolf, Johann Gottfried Müthel, and Friedrich Wilhelm Rust. His influence was not limited to his contemporaries and extended to Felix Mendelssohn^[31] and Carl Maria von Weber.^[32]

His name savage into fail during the 19th century, with Robert Schumann notoriously opining that "as a creative musician he remained very far backside his father";^[33] others opined that he was "a somewhat feeble imitator of his father's mode".^[2] All the aforementioned, Johannes Brahms held him in high regard and edited some of his music. By the early 20th century, he was amend regarded^[ane] but the revival of C. P. Eastward. Bach'due south works has been chiefly underway since Helmuth Koch'due south recordings of his symphonies and Hugo Ruf'south recordings of his keyboard sonatas in the 1960s. In that location is an ongoing projection to record his complete works, led by Miklós Spányi [de] on the Swedish tape label BIS. In 2014, the Croatian pianist Ana-Marija Markovina, in cooperation with the Packard Humanities Establish, the Bach-Archiv Leipzig, the Sächsische Akademie der Wissenschaften zu Leipzig and Harvard Academy released a 26-CD box prepare of the complete works for solo pianoforte on the German record label Hänssler Classic, performed on a modern Bösendorfer thousand piano.

The works of C. P. E. Bach are known by "Wq" numbers, from Alfred Wotquenne'southward 1906 catalogue, and by "H" numbers from a catalogue past Eugene Helm (1989).

He was portrayed by Wolfgang Liebeneiner in the 1941 biopic of his brother Friedemann Bach.

The street Carl-Philipp-Emanuel-Bach-Straße in Frankfurt (Oder) is named for him.

In 2015 the Carl Philipp Emanuel Bach Museum was opened in Hamburg.^[34]

Anniversary yr 2014 [edit]

2014 marked the 300th ceremony of Carl Philipp Emanuel Bach's nativity. All half dozen German language Bach cities—Hamburg, Potsdam, Berlin, Frankfurt-on-the-Oder, Leipzig, and Weimar—hosted concerts and other events to commemorate the anniversary.^[35]

References [edit]

Notes

1. ^ ^{a b c d e f k h i j k l m north o p q r due south t u five w x y z} EB (1911).
2. ^ ^{a b c d eastward f g h} EB (1878).
3. ^ Ratner (1980).
4. ^ Hubeart, T.50. "A Tribute to Carl Philipp Emanuel Bach
5. ^ Allison, John. "CPE Bach at 300: why he'due south more than just Johann Sebastian'southward son", The Telegraph, 26 Jan 2014.
6. ^ "Carl Phillip Emanuel Bach" ClassicalCat.net
7. ^ ^{a b c d} Dammann, Guy (24 Feb 2011). "CPE Bach: like father, similar son". The Guardian.
8. ^ Thompson (1998), p. 32.
9. ^ Percy G. Young, The Bachs, 1500–1850, p. 167
10. ^ Spányi, Miklós (2016). Schulenberg, David (ed.). C. P. E. Bach. London and New York: Routledge. p. 495. ISBN978-i-4724-4337-3.
11. ^ Kipnis, Igor (15 April 2013). The Harpsichord and Clavichord: An Encyclopedia. Routledge. ISBN978-1-135-94978-5.
12. ^ "Malcolm Bilson: The Pattern-Prelude Tradition of J. South. Bach and the Silbermann Piano every bit Precursors to Beethoven's Moonlight – Cornell Center for Historical Keyboards". Retrieved 24 June 2021.
13. ^ Thompson (1998), pp. xxx, 56.
14. ^ Thompson (1998), p. 37.
15. ^ Thompson (1998), pp. 47–48.
16. ^ Thompson (1998), p. 98.
17. ^ Carl Philipp Emanuel Bach The Complete Works, Preface: Symphonies.
18. ^ Complete Works, Vol. 3/2, Preface.
19. ^ ^{a b} Complete Works, Vol. 3/iii, Preface.
20. ^ Richard Crocker, A History of Musical Style
21. ^ Complete Works, Vol. Iii/half dozen, Preface.
22. ^ Complete Works, Vol. III/eight, Preface.
23. ^ Complete Works, Vol. I/4, Preface.
24. ^ Bach Digital Piece of work 01440
25. ^ "Contents of The Essential C.P.E. Bach". Via archive.org.
26. ^ "Cramer and Sturm Songs" in Consummate Works, ser. 6, five. 2., p. xxiii (Packard Humanities Found, 2009).
27. ^ Shepherd, John. Continuum Encyclopedia of Popular Music of the Earth, Vol. Two, p. 325 (A&C Black, 2003).
28. ^ Altman, Ludvig. "A well-tempered musician'due south unfinished journey through life: oral history transcript", UC Berkeley, 1990, 125b. Via archive.org.
29. ^ Patricia Kennedy Grimsted. "Bach is Back in Berlin: The Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics", Harvard Ukrainian Research Found, 2003
30. ^ Rochlitz (1824–1832), pp. 308 ff quoted in Ottenberg (1987), p. 98 & 191
31. ^ "Felix Mendelssohn: Reviving the Works of J.Due south. Bach". Library of Congress . Retrieved 16 June 2020.
32. ^ Carl Maria von Weber (2d ed.). Cambridge Academy Printing. 18 November 1976. p. 105. ISBN978-0-521-29121-7 . Retrieved 16 June 2020.
33. ^ Hubeart Jr., T. L. (14 July 2006). A Tribute to C. P. E. Bach. Retrieved on 17 May 2008
34. ^ Stadt Hamburg, CPE Bach-Museum
35. ^ www.cpebach.de, Official Ceremony Website for Carl Philipp Emanuel Bach.

Sources

• Carl Philipp Emanuel Bach: The Complete Works , a consummate edition of his music, has been in progress since 2005 and is somewhat more than than halfway finished as of 2014.
• Baynes, T. Due south., ed. (1878), "Karl Philipp Emmanuel Bach", Encyclopædia Britannica, vol. three (9th ed.), New York: Charles Scribner's Sons, p. 196
• Ottenberg, Hans-Günter (1987), Carl Philipp Emanuel Bach, translated past Whitmore, Philip J., OUP, ISBN978-0-19-315246-v .
• Ratner, Leonard G. (1980), Archetype Music: Expression, Course and Style, New York: Schirmer
• Rochlitz, Friedrich (1824–1832), Für Freunde der Tonkunst (in German), vol. 4 vols., Leipzig
• Thompson, Alton (1998). Formal Coherence in Emanuel Bach's Auferstehung (DMA thesis). Peabody Establish of Johns Hopkins University.

Attribution

• This article incorporates text from a publication now in the public domain:Hadow, William Henry (1911), "Bach, Karl Philipp Emanuel", in Chisholm, Hugh (ed.), Encyclopædia Britannica, vol. 3 (11th ed.), Cambridge University Press, pp. 130–131

Further reading [edit]

• The New Grove Dictionary of Music and Musicians (2001) contains a biography and list of his compositions.
• Oleskiewicz, Mary. "Like Father, Similar Son? Emanuel Bach and the Writing of Biography," in Music and Its Questions: Essays in Accolade of Peter Williams, edited by Thomas Donahue (Richmond, Virginia: Organ Historical Society Press, 2007), 253–279.
• Oleskiewicz, Mary. "Carl Philipp Emanuel Bach and the Flute", Flutist Quarterly 39/no. 4 (Summer 2014): xx–30.
• Oleskiewicz, Mary, ed. J. Southward. Bach and His Sons, vol. 11 of Bach Perspectives, Illinois University Press, 2017. See likewise the Web companion, which shows images of historical keyboards he played, and places where C. P. East. Bach performed, at the Prussian Courtroom.
• Schulenberg, David. The Music of Carl Philipp Emanuel Bach (Rochester: Academy of Rochester Printing, 2014).
• Schulenberg, David. Chronological listing of all of C.P.E. Bach'southward Works

External links [edit]

• Free scores by Carl Philipp Emanuel Bach at the International Music Score Library Projection (IMSLP)
• Performances of some works at Musopen
• A Tribute to Carl Philipp Emanuel Bach, sketch of the composer's life with extensive references
• Complete Catalogue of C. P. East. Bach's oeuvre (French)
• Website of the edition Carl Philipp Emanuel Bach: The Complete Works
• Finding the Lost Manuscripts of C.P.E. Bach at the Wayback Machine (archived 16 July 2008) Greater Boston Arts
• "Bach, Karl Philipp Emanuel". New International Encyclopedia. 1905.
• Carl Philipp Emanuel Bach – The Complete Works, Packard Humanities Establish, published for the 300th anniversary yr, 2014
• Ensayo sobre la verdadera manera de tocar el teclado, spanish version of the Versuch (Eva Martínez Marín ed.), Ed. Dairea, Galapagar, Madrid, Spain, 2017
• Free scores past Carl Philipp Emanuel Bach in the Choral Public Domain Library (ChoralWiki)
• Trio sonata in C small-scale, H. 579, get-go edition, Sibley Music Library
• Fantasia eastward fuga in C minor, H. 75.v, for keyboard instrument, Sibley Music Library
• "Hamburger Sonata Wq. 133" on YouTube, played by Eckhart Duo
• Early on fortepiano after the Silbermann model C. P. E. Bach played in Potsdam

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Source: https://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bach

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