Carl Philipp Emanuel Bach  
Carl Philipp Emanuel Bach
Carl Philipp Emanuel Bach, (born March 8, 1714, Weimar, Saxe-Weimar [Germany]—died Dec. 14, 1788, Hamburg), second surviving son of J.S. and Maria Barbara Bach, and the leading composer of the early Classical period.

A precocious musician who remained successful, C.P.E. Bach was his father’s true successor and an important figure in his own right. In his autobiography he writes: “For composition and keyboard-playing, I have never had any teacher other than my father.” He studied law, taking his degree at Frankfurt in 1735, although he probably never had any intention of a career other than music.

In 1740 he was appointed harpsichordist to Frederick II of Prussia. Frederick was a good flutist and so fond of music that he had his court orchestra accompany him in concerti every night except Mondays and Fridays, which were opera nights. The subservience that he required from his distinguished harpsichordist grew irksome, but it was not until 1767 that Bach was able to resign his Berlin post to take up an appointment as music director at Hamburg. Meanwhile, he had married (1744), published his Versuch über die wahre Art das Klavier zu spielen (1753, rev. ed. 1787; Essay on the True Art of Playing Keyboard Instruments), and acquired an enviable reputation, as a composer, performer, and teacher.

Unlike his elder brother Wilhelm Friedemann, C.P.E. Bach was successful in assimilating the powerful influence of their father and in making the transition into the new style then evolving. This represented a break with the past such as has occurred in very few other periods of musical development. The monumental character of Baroque music gave way to a mercurial Romanticism, for which the favourite contemporary description was “sensitivity” (Empfindsamkeit). Bach became a leader of that movement but retained the advantage of a solid craftsmanship and assurance for which he always gave full credit to his father’s teaching and example.


C.P.E. Bach’s many compositions include religious music (e.g., a Magnificat, 22 Passions), symphonies, concerti (for flute, harpsichord, piano, harpsichord and piano, organ, oboe), organ sonatas, chamber music, and songs. The music of his Berlin period is comparatively old-fashioned, because of the preferences of his royal employer. In Hamburg he developed a more adventurous vein and did as much as anyone to open up future musical styles. Particularly influential were his symphonies, concerti, and keyboard sonatas in the evolution of classical sonata-allegro form. His influence on Joseph Haydn, W.A. Mozart, and even Ludwig van Beethoven was freely acknowledged, and it is interesting that, having influenced Haydn, Bach later allowed himself to be influenced by the younger composer, just as Haydn later influenced and was influenced by Mozart.
As a performer, Bach was famous for the precision of his playing, for the beauty of his touch, and for the intensity of his emotion. “He grew so animated and possessed,” wrote Charles Burney (Present State of Music in Germany…, 1773), “that he looked like one inspired. His eyes were fixed, his underlip fell, and drops of effervescence distilled from his countenance.”

The influence of C.P.E. Bach’s Essay on Keyboard Instruments was unsurpassed for two generations. Haydn called it “the school of schools.” Mozart said, “He is the father, we are the children.” Beethoven, when teaching the young Karl Czerny, wrote, “be sure of procuring Emanuel Bach’s treatise.” It is, indeed, one of the essential sourcebooks for understanding the style and interpretation of 18th-century music. It is comprehensive on thorough bass, on ornaments and fingering, and is an authentic guide to many other refinements of 18th-century performance.

Encyclopćdia Britannica


Flötenkonzert Friedrichs des Großen 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.
Carl Philipp Emanuel Bach - Die Israeliten in der Wüste - COMPLETE
Barbara Schlick, soprano
Lena Lootens, soprano
Hein Meens, tenor
Stephen Varcoe, bass

Corona et Cappella Coloniensis

Soprano Vocals [Corona Coloniensis] -- Annelies Coene, Hildegard van Overstraeten, Liesbeth Hermans, Sylvia Broekaert
Countertenor Vocals [Corona Coloniensis] -- Martin van der Zeyst*, Nele Minten, Simen van Mechelen
Tenor Vocals [Corona Coloniensis] -- Ibo van Ingen, Jan Stefan Wimmer, Jan van Elsacker, Ludwig van Gyseghem
Bass Vocals [Corona Coloniensis] -- Jean-Louis Paya, Job Boswinkel, Kees-Jan de Koninck, Pieter Coene

Violin [First Violin - Cappella Coloniensis] -- Dieter Vorholz, Doris Wolff-Malm, Elfriede Kontarsky, Helmut Bosse, Hiro Kurosaki, Ruth Nielen
Violin [Second Violin - Cappella Coloniensis] -- Gertraude Hoff, Gudrun Andres, Günter Römling, Ilsebill Hünteler, Willi Lehmann, Wolfgang Neininger
Viola [Cappella Coloniensis] -- Andreas Gerhardus, Gerhard Peters, Hermann Grünkorn, Klaus-Dieter Bachmann
Cello [Cappella Coloniensis] -- Hannelore Michel, Susanne Hertig, Wolfgang Eggers, Zoltán Rácz
Double Bass [Cappella Coloniensis] -- Dieter Eschmann, Helmut Hofmann
Bassoon [Cappella Coloniensis] -- Rhoda Patrick, Walter Stiftner
Flute [Cappella Coloniensis] -- Andreas Blasel, Günter Höller*
Horn [Cappella Coloniensis] -- Jürgen Heller, Michael Roberts
Oboe [Cappella Coloniensis] -- Hans-Peter Westermann, Helmut Hucke
Trumpet [Cappella Coloniensis] -- Ingus Schmidt, Karlheinz Halder, Robert Bodenröder
Harpsichord [Cappella Coloniensis] -- Christophe Rousset
Timpani [Cappella Coloniensis] -- Wenzel Pricha

Carl Philipp Emanuel Bach Concertos for Transverse Flute, Alexis Kossenko
C.P.E. Bach Solo a Viola da Gamba col Basso
Sonata for viola da gamba & continuo in D major, H.559, Wq.137 0:00
Sonata for viola da gamba & continuo in G minor, H.510, Wq.88 17:32
Carl Friedrich Abel Adagio for Viola da Gamba solo 38:51
Sonata for viola da gamba & continuo in C major, H.558, Wq.136 42:10
Carl Friedrich Abel Postlude for Viola da Gamba solo 1:02:30

Friederike Heumann Viola da Gamba by Claus Derenbach 2002 after Romain Cheron 1691
Gaetano Nasillo Violoncello by Alberto Giordano Genova 2002
Dirk Borner Hammerkklavier by Denzil Wright 2003 after Cristofori Ferrini 1730

1. Magnificat
2. Quia respexit
3. Quia fecit
4. Et misericordia
5. Fecit potentiam
6. Deposuit potentes
7. Suscepit Israel
8. Gloria
9. Sicut erat

La Stagione Frankfurt
Michael Schneider Conductor

Berlin 1755
Orchestre de chambre du Wurttemberg, Heilbronn
Direction Jörg Faerber
Carl Philipp Emanuel Bach Keyboard Works, Andreas Staier
C.P.E. Bach Fortepiano Concerto in D major, H.414 W.11 / Miklós Spányi Budapest Concerto Armonico
01. Allegro di molto
02. Adagio non molto
03. Allegro

Violins: Péter Szüts (leader), Györgyi Czirók, Eva Posvanecz, László Paulik, Erzsébet Rácz, Piroska Vitárius
Violas: Balázs Bozzai, Judit Földes
Cello: Balázs Máté
Double bass: György Schweigert
Flute: Ildikó Kertész
Trumpets: László Borsódy, Lászlo Préda
Horns: Sándor Endrődy, Tibor Maruzsa
Timpani: Claus Neumann
Fortepiano: Miklós Spányi

Péter Szüts, director
Budapest Concerto Armonico

C.P.E. Bach - Concerto for flute, strings and continuo in D minor Wq 22
Flute: Florian Cousin

Jeune Orchestre Atlantique
Conductor & Leader
Stéphanie-Marie Degand

Valletta International Baroque Festival
Teatru Manoel

15th January 2013

EUR TEXT is organised with the support of the Culture Programme of the European Union by four institutions:

-Abbaye aux Dames de Saintes (France)
-Soundscapes, Maltese Association for Contemporary Music (Malta)
-Strzemiński Academy of Art Łódź (Poland)
-Janáčkova akademie múzických umění v Brně (Czech Republic)

CPE Bach - Flute Concerto in D minor
CPE Bach's Flute Concerto in D minor -- all three movements -- performed by MISTRAL, ensemble in residence of Andover Chamber Music, December 7, 2012 in Cambridge MA. Julie Scolnik, flute.
Carl Philipp Emanuel Bach Resurrection and Ascension of Jesus Wq 240, Kuijken
Carl Philipp Emanuel Bach : Die Auferstehung und Himmelfahrt Jesu (Resurrection and Ascension of Jesus)
La Petite Bande conducted by Sigiswald Kuijken
Carl Philipp Emanuel Bach: Concerto for Cello in A minor No. 1, Wq. 170
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