Carl Philipp Emanuel Bach

Carl Philipp Emanuel Bach - Wikipedia, the free encyclopedia
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https://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bach
Carl Philipp Emanuel Bach

From Wikipedia, the free encyclopedia
Carl Philipp Emanuel Bach (8 March 1714 14 December

1788),[1] also formerly spelled Karl Philipp Emmanuel
Bach,[2] was a German Classical period musician and
composer, the fifth child and second (surviving) son of Johann
Sebastian Bach and Maria Barbara Bach. His second name was
given in honor of his godfather Georg Philipp Telemann, a
friend of Johann Sebastian Bach.
C. P. E. Bach was an influential composer working at a time of
transition between his father's baroque style and the classical
and romantic styles that followed it. His personal approach, an
expressive and often turbulent one known as empfindsamer Stil
or 'sensitive style', applied the principles of rhetoric and drama
to musical structures. Bach's dynamism stands in deliberate
contrast to the more mannered galant style also then in vogue.[3]
Carl Philipp Emanuel Bach
To distinguish him from his brother Johann Christian, the "London Bach," who at this time was
music master to the Queen of England,[4] C.P.E. Bach was known as the "Berlin Bach" during his
residence in that city, and later as the "Hamburg Bach" when he succeeded Telemann as
Kapellmeister there.[5] He was known simply as Emanuel to his contemporaries.[6]
Contents
1 Life
1.1 Early years: 171438
1.2 Berlin years: 173868
1.3 Hamburg: 176888
2 Works
2.1 Symphonies
2.2 Concertos
2.3 Chamber music
2.4 Keyboard sonatas
2.5 Other keyboard works
2.6 Music for mechanical instruments
2.7 Choral works
3 Legacy and musical style
3.1 Anniversary year 2014
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4 References
4.1 Citations
4.2 Bibliography
5 Further reading
6 External links
Life
Early years: 171438
C. P. E. Bach was born on 8 March 1714 in Weimar to Johann Sebastian Bach[2] and his first wife,
Maria Barbara. He was the composer's third son.[1] The composer Georg Philipp Telemann was his
godfather. When he was ten years old, he entered the St. Thomas School at Leipzig,[2] where his
father had become cantor in 1723.[1] He was one of four Bach children to become professional
musicians; all four were trained in music almost entirely by their father. In an age of royal
patronage, father and son alike knew that a university education helped prevent a professional
musician from being treated as a servant. Carl, like his brothers, pursued advanced studies in
jurisprudence at the University of Leipzig in 1731[2] and at Frankfurt-on-the-Oder in 1735.[1] In
1738, at the age of 24, he obtained his degree but never practiced law,[1] instead turning his
attention immediately to music.[7]
Berlin years: 173868

A few months after graduation Bach, armed with a recommendation by Sylvius Leopold Weiss,
obtained an appointment at Berlin[2] in the service of Crown Prince Frederick of Prussia, the future
Frederick the Great. Upon Frederick's accession in 1740, Bach became a member of the royal
orchestra.[1] He was by this time one of the foremost clavier players in Europe, and his
compositions, which date from 1731, include about 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
father, and important literary figures, such as Gotthold Ephraim Lessing, with whom the composer
would become close friends.
In Berlin, Bach continued to write numerous pieces for solo keyboard, including a series of
character 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 Wrttemberg (1744).[1] In 1746, he was promoted to the
post of chamber musician (Kammermusikus) and served the king alongside colleagues like Carl
Heinrich Graun, Johann Joachim Quantz, and Franz Benda.[1]
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The composer who most influenced Bach's

maturing style was unquestionably his father.
He drew creative inspiration from his
godfather Georg Philipp Telemann, then
working in Hamburg, and from
contemporaries like George Frideric Handel,
Carl Heinrich Graun and Joseph Haydn.
Bach's interest 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 work itself
influenced the work of, among others, Haydn,
Mozart, Beethoven and Felix Mendelssohn.
Fltenkonzert Friedrichs des Groen in Sanssouci

("Flute Concert with Frederick the Great in
Sanssouci") by Adolph von Menzel, 1852, depicts
Frederick the Great playing the flute as C. P. E. Bach
accompanies on the keyboard. The audience includes
Bach's colleagues as well as nobles.
During his residence in Berlin, Bach

composed a setting of the Magnificat (1749),
in which he shows more 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 celebrated
Gellert Songs; and a few secular cantatas and other occasional
pieces.[1] But his main work was concentrated on the clavier,
for which he composed, at this time, nearly two hundred sonatas
and other solos, including the set Mit vernderten Reprisen
(With Changed Reprises, 17601768).[1]
While in Berlin, Bach placed himself in the forefront of

European music with a treatise, Versuch ber die wahre Art das
Clavier zu spielen (An Essay on the True Art of Playing
Detail from previous image
Keyboard Instruments), immediately recognised as a definitive
work on keyboard technique. "Both Haydn and Beethoven
swore by it."[8] By 1780, the book was in its third edition and laid the foundation for the keyboard
methods of Clementi and Cramer.[1] The essay lays out the fingering for each chord and some
chord sequences. Bach's techniques continue to be employed today. The first part of the Essay
contains a chapter 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,
where he gives preference to the contrapuntal approach to harmonization over the newer ideas of
Rameau's theory of harmony and root progressions.
Hamburg: 176888
In 1768,[1] after protracted negotiations,[2] Bach was permitted to relinquish his position in order to
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succeed his godfather Telemann as director of music (Kapellmeister)[1] at Hamburg. Upon his
release from service at the court he was named court composer for Frederick's 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.[9]
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 following year he produced his most
ambitious work,[2] the oratorio Die Israeliten in der Wste (The Israelites in the Desert), a
composition remarkable not only for its great beauty but for the resemblance of its plan to that of
Felix Mendelssohn's Elijah.[1] Between 1768 and 1788, he wrote twenty-one settings of the
Passion, and some seventy cantatas, litanies, motets, and other liturgical pieces.[1] In Hamburg he
also presented a number of works by contemporaries, including his father, Telemann, Graun,
Handel, Haydn, Salieri and Johann David Holland (17461827).[10] 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 grand cantata Die Auferstehung Jesu (The Resurrection of Jesus)
of 177482, which sets a poetic Gospel harmonization by 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 by Mozart.[11]
Bach married Johanna Maria Dannemann in 1744. Only three of their children lived to adulthood:
Johann Adam (174589), Anna Carolina Philippina (17471804), and Johann Sebastian "the
Younger" (174878). None became musicians and Johann Sebastian, a promising painter, died in
his late twenties during a 1778 trip to Italy.[12] Emanuel Bach died in Hamburg on 14 December
1788.[1] He was buried in the Michaeliskirche in Hamburg.
Works
Symphonies
Among Bach's most popular and recorded works are
his symphonies. While in Berlin, he wrote several
string symphonies,[13] most of which were later
revised to add parts for wind instruments. Of these,
the E 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 be written
in a more "difficult" style, preferred to retain them
Sonatas by C. P. E. Bach
Flute Sonata in B flat major
Performed by Alex Murray (flute)

and Martha Goldstein
(harpsichord)
Sonata for Flute or Recorder and
Harpsichord in G minor, H 542.5
(BWV 1020) 1. Allegro
Sonata, H 542.5 2. Adagio
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for private use,)[14] but since their rediscovery, have

become increasingly popular.
However, Bach's best works in the form (by his own
estimation)[15] are assuredly the four OrchesterSinfonien mit zwlf obligaten Stimmen, Wq. 183,
which, as their title suggests, were written with
obbligato wind parts that are integral to the texture,
rather than being added on to an older string
symphony. The first symphony (D major) in the set
has been particularly popular, seeing a continuous
performance and publication tradition all the way
through the 19th century, which makes it the earliest
such symphony.[15] Some of its more unusual
features have been taken as characteristic of Bach's
style:[16] the work, although it is in D major, begins
on a D major chord, which then turns into a D
dominant-seventh chord, outlining G major. In fact,
there is no cadence on D major (D major is not
"confirmed" as the key of the piece) until the
beginning of the recapitulation, quite late in the
piece.
Concertos
Sonata, H 542.5 3. Allegro
All performed by Alex Murray

(traverso) and Martha Goldstein
(harpsichord)
Flute Sonata in G major
Performed by Alex Murray (flute)

and Martha Goldstein
(harpsichord)
Keyboard Sonata in D minor, Wq.
51/4, H.128 I. Allegro assai
Performed by Christopher
Hinterhuber (piano)
Problems playing these files? See media
help.
Other music by C. P. E. Bach
Solfeggietto
Bach was a prolific writer of concertos, especially

for keyboard. Like his father, he would often
transcribe a concerto for various instruments, leading
to problems determining which came first. For
instance, the three cello concertos (Wq. 170172),
which are cornerstones of that instrument's
repertoire, have often been considered to be
transcriptions of the harpsichord versions, but recent
research has suggested that they might be originally
for cello.[17]
According to Bach, his finest keyboard concertos
were the Sei concerti per il cembalo concertato, Wq.
43, which were written to be somewhat more
appealing, and somewhat easier to play.[18] His other
concertos were written for oboe, flute, and organ.
Bach also wrote for more unusual combinations,
including an E-flat major concerto for harpsichord
Freie Fantasie, F sharp minor
Performed by Joan Benson

(clavichord)
Flute Concerto in G major 1.
Allegro
Performed by the Advent

Chamber Orchestra with
Constance Schoepflin (flute)
Largo
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and piano. Additionally, he wrote several sonatinas

for one or more keyboards and orchestra.
Chamber music

Presto
Bach's chamber music forms something of a bridge

between stereotypically Baroque 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
help.
three very popular quartets for keyboard, flute, and
viola. Bach also wrote one of the earliest pieces for solo flute, a sonata that is clearly influenced by
his father's Partita in A minor for solo flute, BWV 1013.
Keyboard sonatas
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 maest 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 ("Wrttemberg" sonatas), Wq. 49.
Achtzehn Probe-Stcke in Sechs Sonaten, 1753 ("Probestcke" sonatas), Wq. 63.
Sechs Sonaten frs Clavier mit vernderten Reprisen, 1760 ("Reprisen" sonatas), Wq. 50.
Fortsetzung von Sechs Sonaten frs Clavier, 1761 ("Fortsetzung" sonatas), Wq. 51.
Zweite Fortsetzung von Sechs Sonaten frs Clavier, 1763 ("Zweite Fortsetzung" sonatas),
Wq. 52.
Sechs Leichte Clavier Sonaten, 1766 ("Leichte" sonatas), Wq. 53.
Six Sonates pour le Clavecin l'usage des Dames, 1770 ("Damen" sonatas), Wq. 54.
Six collections of Clavier Sonaten fr Kenner und Liebhaber, 177987 ("Kenner und
Liebhaber" sonatas), Wq. 55-59, 61.
Much of Bach's energy during his last years was dedicated to the publication of the "Kenner und
Liebhaber" collections (which also include fantasias and rondos, see below). [19]
Wq. 64:16 are six sonatinas for keyboard, and Wq. 65:150 are fifty further keyboard sonatas.
The Sonata in E flat major, Wq. 65:7, is based on Solo per il cembalo, BWV Anh. III 129, No. 27
in the second Notebook for Anna Magdalena Bach.[20]
Other keyboard works
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Easily Bach's best-known piece is the Solfeggietto, Wq. 117/2, to the point that the introduction to
The Essential C.P.E. Bach is subtitled "Beyond the Solfeggio in C Minor".[21] Several of Bach's
other miscellaneous keyboard works have gained fame, including the character piece La Caroline
and the Fantasia in F-sharp minor, Wq. 67. Bach's fantasias, in particular, have been considered to
show him at his most characteristic: 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
Clavierstcke verschiedener Art, Wq. 112 of 1765, and the Kurze und Leichte Clavierstcke
collections, Wq. 11314 of 1766. The former includes songs, fantasias, dances, sonatas, fugues, and
even a symphony and concerto for solo piano (Bach was later to publish an entire collection of
keyboard versions of his symphonies).
Bach also wrote a set of six organ sonatas for the organ of Frederick the Great's sister Wilhelmina.
Music for mechanical instruments

Mechanical instruments such as the music box and
musical clock were popular at the Prussian court,
and C. P. E. Bach wrote thirty original compositions
for these instruments, grouped together as Wq.
193.[22][23] At that time, Bach was court musician to
King Frederick the Great at Potsdam; the King, who
was intrigued by mechanically reproduced music,
had mechanical organ clocks built for the City Castle
of Potsdam and for the New Palais.[24]
Stcke fr Spieluhren auch

Drehorgeln (i.e. pieces for music
boxes and barrel organs)
Tune for musical clock in D
Major, Wq. 193/02
Tune for musical clock in C

Minor, Wq. 193/04
Choral works
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. E. continued to revise and
perform it as late as 1786. The work clearly shows
the influence of J.S. Bach's 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
minor, the oratorios Die Israeliten in der Wste, Wq.
238 and Die Auferstehung und Himmelfahrt Jesu,
Wq. 240, and 21 passions.
Tune for musical clock in E

Major, Wq. 193/06
Tune for musical clock in B

Major, Wq. 193/08
Tune for musical clock, Wq.

193/11
Tune for music box, Wq. 193/12
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Legacy and musical style

Through the later half of the 18th century, the
reputation of Carl Philipp Emanuel Bach stood very
help.
[1]
[8]
high, surpassing that of his father. Haydn and
Beethoven admired him and "avidly" collected his music.[8] Mozart said of him, "Bach is the father,
we are the children."[1][27]
The content of his work is full of invention and, most
importantly, extreme unpredictability, and wide emotional range
even within a single work, a style that may be categorized as
empfindsamer Stil. It is no less sincere in thought than polished
and felicitous in phrase.[1] His keyboard sonatas, for example,
mark an important epoch in the history of musical form.[1]
Lucid in style, delicate and tender in expression, they are even
more notable for the freedom and variety of their structural
design; they break away altogether from both the Italian and the
Viennese schools, moving instead toward the cyclical and
improvisatory forms that would become common several
generations later.[1]
Logo for the anniversary year of

C. P. E. Bach, 2014
He was probably the first composer of eminence who made free use of harmonic color for its own
sake.[1] In this way, he compares well with the most important representatives of the First Viennese
School.[1] In fact, he exerted enormous influence on the North German School of composers, in
particular Georg Anton Benda, Bernhard Joachim Hagen, Ernst Wilhelm Wolf, Johann Gottfried
Mthel, and Friedrich Wilhelm Rust. His influence was not limited to his contemporaries and
extended to Felix Mendelssohn and Carl Maria von Weber.
His name fell into neglect during the 19th century, with Robert Schumann notoriously opining that
"as a creative musician he remained very far behind his father";[28] others opined that he was "a
somewhat feeble imitator of his father's style".[2] All the same, Johannes Brahms held him in high
regard and edited some of his music. By the early 20th century, he was better regarded[1] but the
revival of C. P. E. Bach's works has been chiefly underway since Helmuth Koch's recordings of his
symphonies and Hugo Ruf's recordings of his keyboard sonatas in the 1960s. There is an ongoing
project to record his complete works, led by Mikls Spnyi on the Swedish record label BIS. In
2014, the Croatian pianist Ana-Marija Markovina, in cooperation with the Packard Humanities
Institute, the Bach-Archiv Leipzig, the Schsische Akademie der Wissenschaften zu Leipzig and
Harvard University released a 26-CD box set of the complete works for solo piano on the German
record label Hnssler Classic, performed on a modern Bsendorfer grand piano.
The works of C. P. E. Bach are known by "Wq" numbers, from Alfred Wotquenne's 1906 catalogue,
and by "H" numbers from a catalogue by Eugene Helm (1989).
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He was portrayed by Wolfgang Liebeneiner in the 1941 biopic of his brother Friedemann Bach.
Anniversary year 2014

2014 marked the 300th anniversary of Carl Philipp Emanuel Bach. All six German Bach cities
Hamburg, Potsdam, Berlin, Frankfurt-on-the-Oder, Leipzig, and Weimarhosted concerts and
other events to commemorate the anniversary.[29]
References
Citations
1. EB (1911).
2. EB (1878).
3. Ratner (1980).
4. Hubeart, T.L. "A Tribute to Carl Philipp Emanuel Bach (http://www.pennuto.com/music/cpe_bach.htm)
5. Allison, John. "CPE Bach at 300: why he's more than just Johann Sebastian's son
(http://www.telegraph.co.uk/culture/music/classicalmusic/10577996/CPE-Bach-at-300-why-hesmore-than-just-Johann-Sebastians-son.html)", The Telegraph, 26 Jan 2014.
6. "Carl Phillip Emanuel Bach (http://www.classiccat.net/bach_cpe/biography.php)" ClassicalCat.net
7. Thompson (1998) p. 32
8. Dammann, Guy (24 February 2011), The Guardian "CPE Bach: like father, like son"
(http://www.theguardian.com/music/2011/feb/24/cpe-bach).
9. Thompson (1998) pp. 30, 56
10. Thompson (1998) p. 37
11. Thompson (1998) pp. 4748
12. Thompson (1998) p. 98
13. Wq. 173181.
14. Complete Works, Vol. III/2, Preface.
16. Richard Crocker, A History of Musical Style
19. Complete Works, Vol. I/4, Preface.
20. Bach Digital Work 1440 (http://www.bachdigital.de/receive
/BachDigitalWork_work_00001440?lang=en)
21. "Contents of The Essential C.P.E. Bach (https://web.archive.org/web/20140825052506/http:
//cpebach.org/toc/toc-Essential.html)". Via archive.org.
22. "Cramer and Sturm Songs" in Complete Works, ser. VI, v. 2., p. xxiii (Packard Humanities Institute,
2009).
23. Shepherd, John. Continuum Encyclopedia of Popular Music of the World (https://books.google.com
/books?id=pJvzEzjahkQC&pg=PA325), Vol. II, p. 325 (A&C Black, 2003).
24. Altman, Ludvig. "A well-tempered musician's unfinished journey through life: oral history transcript
(https://archive.org/stream/welltemperedmusical00altmrich/welltemperedmusical00altmrich_djvu.txt)",
UC Berkeley, 1990, 125b. Via archive.org.
25. Rochlitz, pp. 308 ff.
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26. Ottenberg (1987), p. 98 & 191.

27. Rochlitz,[25] quoted in Ottenberg.[26]
28. Hubeart Jr., T. L. (14 July 2006). A Tribute to C. P. E. Bach (http://members.aol.com/basfawlty
/cpe_bach.htm#_edn18). Retrieved on 17 May 2008
29. www.cpebach.de (http://www.cpebach.de/en), Official Anniversary Website for Carl Philipp Emanuel
Bach.
Bibliography
Carl Philipp Emanuel Bach: The Complete Works, a complete edition of his music, has been
in progress since 2005 and is somewhat more than halfway finished as of 2014.
"Karl Philipp Emmanuel Bach", Encyclopdia Britannica, 9th ed., Vol. III, New York:
Charles Scribner's Sons, 1878, p. 196.
"Karl Philipp Emanuel Bach", Encyclopdia Britannica, 11th ed., Vol. III, Cambridge:
Cambridge University Press, 1911, pp. 130131.
Ratner, Leonard G. (1980), Classic Music: Expression, Form and Style, New York: Schirmer.
Rochlitz, Friedrich (182432), Fr Freunde der Tonkunst, 4 vols., Leipzig. (German)
Thompson, Alton (1998). Formal Coherence in Emanuel Bach's Auferstehung (DMA thesis).
Peabody Institute of Johns Hopkins University.
Ottenberg, Hans-Gnter (1987), Carl Philipp Emanuel Bach, translated from the German by
P.J. Whitmore for OUP, ISBN 0-19-315246-0.
Further reading
The New Grove Dictionary of Music and Musicians (2001) contains a biography and list of
his compositions.
David Schulenberg: The Music of Carl Philipp Emanuel Bach (2014) A study of the
composer's works, published for 300th anniversary of the composer
External links
Free scores by Carl Philipp Emanual Bach at the
Wikimedia Commons
International Music Score Library Project
has media related to
Performances of some works (https://musopen.org/music
Carl Philipp Emanuel
/composer/carl-philipp-emanuel-bach/) at Musopen
Bach.
A Tribute to Carl Philipp Emanuel Bach
Wikiquote has
(http://www.pennuto.com/music/cpe_bach.htm), sketch of
quotations related to:
the composer's life with extensive references
Carl Philipp Emanuel
Complete Catalogue (http://www.uquebec.ca/musique
Bach
/catal/baccp/baccp.html) of C. P. E. Bach's oeuvre (French)
Website of the edition Carl Philipp Emanuel Bach: The
Complete Works (http://www.cpebach.org/)
Finding the Lost Manuscripts of C.P.E. Bach (https://web.archive.org/web/20080716153641
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/http://www.wgbh.org/pages/bostonarts/2001/bach_manuscripts.html) 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 (http://www.cpebach.de/en/), Packard
Humanities Institute, published for the 300th anniversary year, 2014
Free scores by Carl Philipp Emanuel Bach in the Choral Public Domain Library (ChoralWiki)
Trio sonata in C minor, H. 579 (http://hdl.handle.net/1802/4652), first edition, Sibley Music
Library
Fantasia e fuga in C minor, H. 75.5 (http://hdl.handle.net/1802/4581), for keyboard
instrument, Sibley Music Library
Video recordings
"Hamburger Sonata Wq. 133" (https://www.youtube.com/watch?v=TqkqdsFQG00) on
YouTube Played by Eckhart Duo
Retrieved from "https://en.wikipedia.org/w/index.php?title=Carl_Philipp_Emanuel_Bach&
oldid=740241243"
Categories: 1714 births 1788 deaths 18th-century classical composers
18th-century German people Bach family Composers for pipe organ
German classical composers German Classical-period composers German classical pianists
German harpsichordists German Lutherans German music theorists
Leipzig University alumni German male classical composers Oratorio composers
People from Weimar Pupils of Johann Sebastian Bach Viadrina European University alumni
18th-century keyboardists
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