# Carl Philipp Emanuel Bach



## Aramis

One of inventors of classical style. Hero of many famous composers such as Mozart and Beethoven, in days of their youth. Guy with strange shape of head, and no neck.


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## Air

CPE definitely influenced Mozart, who said this about him "He is the father, we are the children." I also admire him greatly because he wrote _Versuch uber die wahre Art das Clavier zu spielen (Essay on the True Art of Playing Keyboard Instruments)_ which was one of the first guide to piano technique, fingering, and style.

That said, I cannot stand most of his works. I don't prefer early-classical/rococo works in general, but if I had to pick which Bach son I liked the most, it would be Johann Christian, not CPE. Any Suggestions?

I also found this. LOL


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## Sid James

I agree that, from what I've heard, J.C. Bach's music was more accessible to that of C.P.E Bach. The former is more similar in style to Haydn & Mozart. Nevertheless, C.P.E Bach was also an important transitional figure, which can be detected in quite interesting works such as the late double concerto for harpsichord & pianoforte. Had he lived longer, he would have undoubtedly written exclusively for the pianoforte, as the younger generation of composers did.


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## Aramis

His piano works are great - what about symphonies? I just checked them out yesterday and it's interesting to hear early classical melodies based on typical baroque chords.


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## Lisztfreak

I love the Five Hamburg Sinfonias, for strings and continuo.


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## Weston

I actually prefer the music of C.P.E. to that of Johann Christian Bach. It still retains some of that deep baroque texture before music became thoroughly simplified to its bare bones in the galant style. I know he helped this transition, but it still feels enough like baroque for me to enjoy.

After that, with the exception of Haydn, I rarely enjoy much music until Beethoven comes along,

I particularly enjoy his several concertos. I've heard some for flute and some for harpsichord, though it has been a while.


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## vavaving

Aramis said:


> Guy with strange shape of head, and no neck.








Whimsical comes to mind. It is nicely finished. It has a humerous aspect to it, almost like that of Domenico Scarlatti... the music, that is.


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## Habib

I find his music boring and repetitive to a fault. Prefer his father, quite honestly.


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## HarpsichordConcerto

The following is a link to _Carl Philipp Emanuel Bach: The Complete Works _.

Quote:-

Carl Philipp Emanuel Bach: The Complete Works is an editorial and publishing project of the Packard Humanities Institute, in cooperation with the Bach-Archiv Leipzig, the Sächsische Akademie der Wissenschaften zu Leipzig, and Harvard University. *Its goal is to make available, in both printed and digital formats, a critical edition of the composer's works. We are planning a concentrated publication schedule in order to complete the Edition by 2014, the 300th anniversary of Bach's birth.*

Notable personnel include Christopher Hogwood (chair) and Christoph Wolff (eminent J. S. Bach scholar).

This may well be the first ever internet based resource of the complete works of a period/classical composer.

http://www.cpebach.org/cpeb/index.html


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## Sid James

This is good news. It's great when a composer from hundreds of years ago gets a new lease of life through the work of dedicated people like Hogwood & Wolff. I really like CPE Bach's music, he was a very important transitional figure between the Baroque & Classical eras. This may sound heretical, but I like his music more than that of his father. But this is not my favourite era, even though I've always liked Handel and am now getting into the Italians like D. Scarlatti (whom I similarly find to be more "warm" and less "heavy" perhaps?).


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## clavichorder

CPE is a great composer. Try listening to his sinfonia in B minor 



. I don't like the orchestra that plays in that recording.

He recycles much of the same material, but its worth it for a lot of the ideas that are in his music. He was the master of the clavichord.

See my friend Teafruitbats channel for this fantastic CPE Rondo on a unique travel clavichord built by Stein 



and some more from him










Anyone who says CPE is boring and repetetive has simply not listened to enough CPE with people playing the right instruments. He can even sound great on the piano. Mozart and Haydn, though more skilled at development, were not as bold with their disssonances and rhythms usually and didn't have quite the vitality that CPE has.


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## clavichorder

CPE Bach does not "fade like prussian blue," his father was being a jerk. Second best of the Bach family and the most enjoyable to listen to for me.


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## Dirge

C. P. E. BACH: Symphony in D major, Wq. 183/1
:: Akademie für Alte Musik Berlin [HM]
:: Cohen/Arcangelo [Hyperion]
:: Leonhardt/OAE [Virgin]

The D major symphony is the first and most popular of the four Orchester-Sinfonien mit zwölf obligaten Stimmen, Wq. 183, composed in 1776 in Hamburg; the twelve obbligato parts of the title are for 2 horns, 2 flutes, 2 oboes, 2 violins, viola, cello, bassoon, keyboard and violone. Unlike Bach's earlier symphonies, those of Wq. 183 were composed with winds in mind from the git-go: some of the earlier symphonies include winds, but they were apparently added after the fact and mostly just flesh out/reinforce the string parts; the winds of Wq. 183 have their own unique parts and are treated concertante like.

The D major symphony has one of the eyebrow-raisingly great openings of any early Classical symphony-had CPE's dear old dad not already been dead by the time of this symphony, I'm sure that its opening would have killed him. The Allegro di molto first movement continues on in sturm und drang fashion until gently leading into the brief but lovely Largo middle movement, in which continuo is kept silent to allow for as calm as backdrop as possible for the fluid flutish theme to gently makes its way. The work then ends with a tawdry dance-like Presto that sounds like something Rued Lannggard might have written for _The Benny Hill Show_, what with its lowbrow high spirits being interrupted several times by a dark, menacing little portal from Hell trying to open in the middle of the movement-similar portals try to open in several of Johann David Heinichen's masses as well.

CPE has never been woefully neglected on record, and Wq. 183/1 has done particularly well, getting many one-off recordings in addition to being part of several Wq. 183 complete sets. AAM Berlin gives as tense, severe, and trenchant a performance of the work as I've heard, and its account of the first movement is delightfully ruthless and scary-no one conveys the shockingness of the opening so shockingly as they do. Their slightly dry/sec and unaffected take on the little Largo also works for me, bringing a certain lithe lilt to the music and making other accounts sound like their milking the expressive cow too much. The rigorous approach is not wholly successful in the dance-like final movement, however: the hellish interruptions are disturbing enough, but the high-spirited stuff in between interruptions could use more variety and colorful characterization to avoid sounding repetitive and a bit monotonous. The Akademie's strings sound a bit lean and mean throughout the performance; this is a bit disappointing, as the group's 1997 recordings of 183/2 & 3 are better in this regard (and the cream of the crop for those two symphonies). Even so, this is probably my favorite account of the work on record. https://play.spotify.com/album/4oNe2aK7vFfIHhMhX0n6Xp (tracks 12-14)

An interest alternative comes from Cohen/Arcangelo, who plays the symphony as if it were an overture to a Mozart opera about the life of C. P. E. Bach, embracing the quirkiness and playing up the inherent drama-one can almost imagine the rebellious son arguing with his dad in the first movement. The recording is a one-off on an album otherwise devoted to opera arias for castrato, so such an approach is perhaps not entirely unexpected. The group tackles the problem of the third movement by adopting a slightly breathtaking pace and being done with it before you have a chance to give it much thought; unfortunately, the hellish interludes sound more whimsically puzzled than hellish here. The recording is vivid and well balanced on the whole except for the unnaturally prominent flutes.

For highbrow listeners wanting CPE to be presented in a more couth and civilized manner, Leonhardt/OAE offers up a beautifully played, balanced, and recorded account using what sounds like a larger complement of strings than other HIP groups use; in a lot of ways, the performance sounds like the period-instruments successor to Leppard/ECO [Philips], my favorite analog-era recording of the work. Leonhardt/OAE has the advantage of excellent modern sound and the more interesting timbres and textures of period instruments; interpretively, Leppard is a touch slower but more flowing/singing, while Leonhardt is a touch darker of tone and more contrast oriented, which yields a bit more drama. Neither conductor fully embraces CPE's crazier side, but that seems to be okay with a lot of listeners. https://play.spotify.com/album/4y0ia9fQmF0yLpj1X3ghul (tracks 1-3)

These three recordings strike me as the most interesting/compelling of the dozen or so that I've heard over the years, though the too flexible and relaxed Manze/The English Concert [HM] and the too stout and straightforward Talpain/Solamente Naturali [Brilliant] have lots of misguided fans. I haven't heard Bernardini/Barokkanerne [LAWO], but it has received a boatload of rave reviews and might be worth investigating.


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## EdwardBast

Dirge said:


> C. P. E. BACH: Symphony in D major, Wq. 183/1
> :: Akademie für Alte Musik Berlin [HM]
> :: Cohen/Arcangelo [Hyperion]
> :: Leonhardt/OAE [Virgin]
> 
> The D major symphony is the first and most popular of the four Orchester-Sinfonien mit zwölf obligaten Stimmen, Wq. 183, composed in 1776 in Hamburg; the twelve obbligato parts of the title are for 2 horns, 2 flutes, 2 oboes, 2 violins, viola, cello, bassoon, keyboard and violone. Unlike Bach's earlier symphonies, those of Wq. 183 were composed with winds in mind from the git-go: some of the earlier symphonies include winds, but they were apparently added after the fact and mostly just flesh out/reinforce the string parts; the winds of Wq. 183 have their own unique parts and are treated concertante like.


That D major symphony is wonderful. The Prussian Sonatas, the six symphonies for string orchestra, and a number of the keyboard concertos are among my favorites as well. These works stand the test of time and would probably be widely popular if their performing forces and instrumentation were more mainstream. Alas.


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## Vaneyes

CPE Bach is not amongst my "great" composers, but I respect his contributions to the advancement of orchestration. No question Mozart was helped by his thinking, and no question that's the biggest feather in CPE's hat.

Recordings: Haenchen/CPE Bach CO - Berlin Symphonies, Sinfonias (rec.1985/6); Suzuki/Bach Collegium Japan - Cello Concerti (rec.1996); Pletnev - Sonatas & Rondos (rec.1998); GG - Wurttemberg Sonata1 (rec.1968).:tiphat:


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## clavichorder

I won't hear a negative word against CPE. He was a great composer, in my book.


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## KenOC

Beethoven loved CPE and asked a publisher for all his published works about 1809. "Of Emanuel Bach's clavier works I have only a few, yet they must be not only a real delight to every true artist, but also serve him for study purposes; and it is for me a great pleasure to play works that I have never seen, or seldom see, for real art lovers."


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## Mandryka

KenOC said:


> Beethoven loved CPE and asked a publisher for all his published works about 1809. "Of Emanuel Bach's clavier works I have only a few, yet they must be not only a real delight to every true artist, but also serve him for study purposes; and it is for me a great pleasure to play works that I have never seen, or seldom see, for real art lovers."


Which CPEB keyboard scores did Beethoven own?


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## EdwardBast

Mandryka said:


> Which CPEB keyboard scores did Beethoven own?


The letter Ken quotes is one of several requests for scores of CPE Bach's music. I have wondered what scores he owned as well, but was not able to establish it. One would think a good modern biography would have inventoried his library at the time of his death. I don't own one. Maybe Ken does?

One online source says his library included "Instruction books for singing, piano and organ by Carl Philipp Emanuel Bach." Not very informative.


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## KenOC

EdwardBast said:


> The letter Ken quotes is one of several requests for scores of CPE Bach's music. I have wondered what scores he owned as well, but was not able to establish it. One would think a good modern biography would have inventoried his library at the time of his death. I don't own one. Maybe Ken does?


I've never seen a listing of Beethoven's library, though I haven't finished reading Swafford yet. It's not in an appendix, though.


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## Mandryka

KenOC said:


> I've never seen a listing of Beethoven's library, though I haven't finished reading Swafford yet. It's not in an appendix, though.


That's a shame, I know the Beethoven Haus in Bonn have a project to reconstruct his library, but I too have never seen a catalogue.

It's one thing if Beethoven liked the Prussian sonatas, quite another if he liked the Kenner und Liebhaber sonatas. I think it would be extraordinary if he was talking about the concertos.


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## EdwardBast

Mandryka said:


> That's a shame, I know the Beethoven Haus in Bonn have a project to reconstruct his library, but I too have never seen a catalogue.
> 
> It's one thing if Beethoven liked the Prussian sonatas, quite another if he liked the Kenner und Liebhaber sonatas. I think it would be extraordinary if he was talking about the concertos.


Just a hunch, but I suspect he knew the Prussian Sonatas. They were quite popular and widely known, weren't they? And the fragmentary themes, as especially in #3 in E major, are among the clearest precedents for Beethoven's dramatic thematic style.


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## KenOC

Mandryka said:


> That's a shame, I know the Beethoven Haus in Bonn have a project to reconstruct his library, but I too have never seen a catalogue.


Here's a short article from Beethoven-Haus: "Reconstruction of Beethoven's library".

http://www.beethoven-haus-bonn.de/sixcms/detail.php?id=59114&template=&_mid=59114

BTW CPE Bach was still well-known in Beethoven's day and is mentioned as a point of comparison in some contemporary reviews of his keyboard music that appeared in the AMZ Leipzig.


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## HaydnBearstheClock

Haydn always acknowledged his great debt to CPE Bach. Therefore, CPE Bach must be great .


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## Triplets

I just bought the 40 CD CPE Bach box from Brilliant Classics, for about a dollar per CD. I figure I'm set for life on CPE.
I really enjoy the Flute Concertos. I don't buy the line that he turned the stuff out like sausage to meet the demands of Frederick The Great. There is really great stuff here and I prefer it to the nervous energy of his Symphonies, which have such abrupt changes in key and tempo theat I get vertiginous listening to them.


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## EdwardBast

Triplets said:


> I just bought the 40 CD CPE Bach box from Brilliant Classics, for about a dollar per CD. I figure I'm set for life on CPE.
> I really enjoy the Flute Concertos. I don't buy the line that he turned the stuff out like sausage to meet the demands of Frederick The Great. There is really great stuff here and I prefer it to the nervous energy of his Symphonies, which have such abrupt changes in key and tempo theat I get vertiginous listening to them.


The trio sonatas are another wonderful but less erratic part of his output. I actually enjoy the vertiginous stuff most.


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## Mandryka

So someone, please tell me which symphonies are particularly vertiginous, I've found the odd section of the odd movement with abrupt changes of keynetc,mbut nothing very sustained. But I've hardly scratched the surface probably.


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## EdwardBast

Mandryka said:


> So someone, please tell me which symphonies are particularly vertiginous, I've found the odd section of the odd movement with abrupt changes of keynetc,mbut nothing very sustained. But I've hardly scratched the surface probably.


I was speaking in relative terms; Not sure how startling the symphonies are in this day and age. Anyway, the six symphonies for strings (W. 182) have some strange moments. The one in C major has that harrowing slow movement based on B-A-C-H. And the D major symphony of the W. 183 set is strange and wonderful.


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## Dirge

Dirge said:


> C. P. E. BACH: Symphony in D major, Wq. 183/1
> :: Akademie für Alte Musik Berlin [HM]
> :: Cohen/Arcangelo [Hyperion]
> :: Leonhardt/OAE [Virgin]
> 
> The D major symphony is the first and most popular of the four Orchester-Sinfonien mit zwölf obligaten Stimmen, Wq. 183, composed in 1776 in Hamburg; the twelve obbligato parts of the title are for 2 horns, 2 flutes, 2 oboes, 2 violins, viola, cello, bassoon, keyboard and violone. Unlike Bach's earlier symphonies, those of Wq. 183 were composed with winds in mind from the git-go: some of the earlier symphonies include winds, but they were apparently added after the fact and mostly just flesh out/reinforce the string parts; the winds of Wq. 183 have their own unique parts and are treated concertante like.
> 
> The D major symphony has one of the eyebrow-raisingly great openings of any early Classical symphony-had CPE's dear old dad not already been dead by the time of this symphony, I'm sure that its opening would have killed him. The Allegro di molto first movement continues on in sturm und drang fashion until gently leading into the brief but lovely Largo middle movement, in which continuo is kept silent to allow for as calm as backdrop as possible for the fluid flutish theme to gently makes its way. The work then ends with a tawdry dance-like Presto that sounds like something Rued Lannggard might have written for _The Benny Hill Show_, what with its lowbrow high spirits being interrupted several times by a dark, menacing little portal from Hell trying to open in the middle of the movement-similar portals try to open in several of Johann David Heinichen's masses as well.
> 
> CPE has never been woefully neglected on record, and Wq. 183/1 has done particularly well, getting many one-off recordings in addition to being part of several Wq. 183 complete sets. AAM Berlin gives as tense, severe, and trenchant a performance of the work as I've heard, and its account of the first movement is delightfully ruthless and scary-no one conveys the shockingness of the opening so shockingly as they do. Their slightly dry/sec and unaffected take on the little Largo also works for me, bringing a certain lithe lilt to the music and making other accounts sound like their milking the expressive cow too much. The rigorous approach is not wholly successful in the dance-like final movement, however: the hellish interruptions are disturbing enough, but the high-spirited stuff in between interruptions could use more variety and colorful characterization to avoid sounding repetitive and a bit monotonous. The Akademie's strings sound a bit lean and mean throughout the performance; this is a bit disappointing, as the group's 1997 recordings of 183/2 & 3 are better in this regard (and the cream of the crop for those two symphonies). Even so, this is probably my favorite account of the work on record. https://play.spotify.com/album/4oNe2aK7vFfIHhMhX0n6Xp (tracks 12-14)
> 
> An interest alternative comes from Cohen/Arcangelo, who plays the symphony as if it were an overture to a Mozart opera about the life of C. P. E. Bach, embracing the quirkiness and playing up the inherent drama-one can almost imagine the rebellious son arguing with his dad in the first movement. The recording is a one-off on an album otherwise devoted to opera arias for castrato, so such an approach is perhaps not entirely unexpected. The group tackles the problem of the third movement by adopting a slightly breathtaking pace and being done with it before you have a chance to give it much thought; unfortunately, the hellish interludes sound more whimsically puzzled than hellish here. The recording is vivid and well balanced on the whole except for the unnaturally prominent flutes.
> 
> For highbrow listeners wanting CPE to be presented in a more couth and civilized manner, Leonhardt/OAE offers up a beautifully played, balanced, and recorded account using what sounds like a larger complement of strings than other HIP groups use; in a lot of ways, the performance sounds like the period-instruments successor to Leppard/ECO [Philips], my favorite analog-era recording of the work. Leonhardt/OAE has the advantage of excellent modern sound and the more interesting timbres and textures of period instruments; interpretively, Leppard is a touch slower but more flowing/singing, while Leonhardt is a touch darker of tone and more contrast oriented, which yields a bit more drama. Neither conductor fully embraces CPE's crazier side, but that seems to be okay with a lot of listeners. https://play.spotify.com/album/4y0ia9fQmF0yLpj1X3ghul (tracks 1-3)
> 
> These three recordings strike me as the most interesting/compelling of the dozen or so that I've heard over the years, though the too flexible and relaxed Manze/The English Concert [HM] and the too stout and straightforward Talpain/Solamente Naturali [Brilliant] have lots of misguided fans. I haven't heard Bernardini/Barokkanerne [LAWO], but it has received a boatload of rave reviews and might be worth investigating.


I've since heard Bernardini/Barokkanerne-it's part of a splendid all-C. P. E. Bach album titled _Empfindsamkeit!_ that includes another symphony (in E minor, Wq. 178) and two concertos (for oboe in E-flat major, Wq. 165, and for harpsichord in D minor, Wq. 17)-and it now takes the palm from AAM Berlin. The playing is so spirited and capricious and just plain C. P. E. Bach_ish_ that it can't be denied-and the wonderfully crisp & airy recorded sound doesn't hurt the cause. Rather than go on and on about this, that, and the other aspect of the performance, I'll simply point to the appropriate YouTube videos:


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## cougarjuno

Along another line his Magnificat is a wonderful work... CPE is definitely a great composer. The wealth of imagination in the keyboard sonatas alone places him among the best composers for the keyboard.


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## juliante

Big up CPE! I have completely ignored him 15 for years of CM listening, squeezed as he is between titans. But I've just discovered his keyboard concertos. Loving 44 and 20 on the piano and 22 on the clavichord. They are so light footed and refreshing - they bring a smile to my face every time! And not like anything else I know. I am going to keep exploring him for sure.


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## Larkenfield

Christopher Hogwood and ...


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## JosefinaHW

Larkenfield said:


>


Larkenfield, It's good to have you back. I've missed you. :kiss:


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## juliante

Larkenfield said:


> Christopher Hogwood and ...


Splendid too í ½í±�í ¼í¿¼


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## AeolianStrains

cougarjuno said:


> Along another line his Magnificat is a wonderful work... CPE is definitely a great composer. The wealth of imagination in the keyboard sonatas alone places him among the best composers for the keyboard.


Hyperion has out three Magnificats by three Bachs (JS, JC, and CPE):


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## flamencosketches

^That sounds interesting. 

Are they all radically different, or are there some touchstones between the 3?


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## AeolianStrains

flamencosketches said:


> ^That sounds interesting.
> 
> Are they all radically different, or are there some touchstones between the 3?


Specifically on this Magnificat I feel like CPE is echoing his father here, but not so much JC. It's probably deliberate given how far apart CPE's work usually is from JS's.


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## flamencosketches

Makes sense. 

I've just started learning CPE Bach's famous Solfeggietto in C minor. Obviously, there is pretty much no contrapuntal element whatsoever, but as for the chord progression itself, it strikes me as being very influenced by his father.


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## Larkenfield

JosefinaHW said:


> Larkenfield, It's good to have you back. I've missed you. :kiss:


I was considering taking a long or permanent break. It's better not to wear out one's welcome.


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## JosefinaHW

Larkenfield said:


> I was considering taking a long or permanent break. It's better not to wear out one's welcome.


OMG!!!! NO BS or exaggeration. You are an exceptionally valuable member of TC in my mind! Please, never take a long or permanent break because you think you are not welcome. Some of us would be willing to hire bodyguards for you!


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## KenOC

CPE Bach was employed as Frederick the Great’s harpsichordist. Johann Quantz was Freddie’s flute teacher and composition teacher. Freddie had little time for CPE’s compositions, much preferring the Italianate style of Quantz (who was paid about seven times as much as CPE).

Good thing CPE was a pretty easy-going chap! In any event, Quantz wrote over 300 flute concertos; CPE only six. But all the works of Quantz are essentially forgotten today, while those of CPE still seem fresh. Alexis Kossenko’s two discs of CPE’s flute concertos are treasures.


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## hammeredklavier

flamencosketches said:


> Makes sense.
> 
> I've just started learning CPE Bach's famous Solfeggietto in C minor. Obviously, there is pretty much no contrapuntal element whatsoever, but as for the chord progression itself, it strikes me as being very influenced by his father.


JS Bach is not entirely about contrapuntal elements. Think of some of the keyboard preludes that consist of repeated figures or the cello suites or flute partita. I think CPE Bach's Solfeggietto in C minor has a lot of commonality with those.


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## Mandryka

KenOC said:


> But all the works of Quantz are essentially forgotten today,.


You sure?

cldnhszaklcbzanhs,k.czsnhc


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## Dirge

*«Abschied»*
Carl Philipp Emanuel BACH ~ Rondos & Fantasias
:: Vittorio Forte [Odradek '18]





This new album of C.P.E. Bach rondos & fantasias features strong, chiseled playing (on a modern Steinway) of boldly imaginative and poetic interpretations by Vittorio Forte-very compelling stuff. The recorded sound is very clean and focused but very close-up. Three works rather dominate the proceedings and make for obvious highlights:

[track #1]: *Rondo in E minor, Wq. 66/H. 272* "Abschied von meinem Silbermannischen Claviere in einem Rondo" ("Farewell to My Silbermann Clavichord in a Rondo") (1781)
_This Rondo is an almost too sad and lovely farewell to Emanuel's beloved Silbermann clavichord, which he sold to one of his students. I've always assumed that subtitle was added tongue in cheek, but apparently Emanuel was truly and sincerely bummed out at the loss of his favorite instrument-why he sold it is not clear._

[track #8]: *Freye Fantasie in F-sharp minor, Wq. 67/H. 300* (1787)
_Freye Fantasie is a moody, gloomy, and disturbed emotional self portrait (according to some) that flows from the keyboard like a tortuous and occasionally contorted stream of consciousness. It's a fascinating work that's tricky to pull off, as it's difficult to maintain tension and a sense of continuity across the often abrupt changes of mood/thought. Forte and Alexei Lubimov (his first ECM recording, on modern piano, not his remake on tangent piano) are, in their different ways, the most successful and compelling advocates of the work that I've heard: Forte takes the more extroverted, abrupt and volatile path, Lubimov the more introverted, hushed and sullen, but both are very intense._

[track #12]: *12 Variations über die Folie d'Espagne, Wq. 118:19/H. 263* (1778)
_12 Variations on "La folia d'Espagne" is rather bold and audacious for its time, and Forte treats it as such, playing up the abrupt and angular aspects of the music in an ever-so-slightly deconstructed manner that brings Thelonious Monk to mind._


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## flamencosketches

^Looks great, tho I don't know the pianist or the music. I have been meaning to get into CPE's piano music.


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## ando

If you happen to be in NYC this week Juilliard in the middle of a *CPE BachFest* .

I'll more than likely attend the final event Next Monday night with Paul Agnew and Juilliard415:










But the Lieder Program tomorrow evening looks promising as well.


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## hammeredklavier

I've been getting this lately on youtube video recommendations; sounds very much like C.P.E. to me.




Christoph Nichelmann: Concerto in C Minor for Keyboard, Strings & B.c D-B M. TH.169

"Nichelmann's treatise Die Melodie, nach ihrem Wesen sowohl, als nach ihren Eigenschaften (Melody, after its Nature and its Properties) (1755) was acclaimed, although it was criticized by a theorist under the pen name Caspar Dünkelfeind. It is probable that this critic was Carl Philipp Emanuel Bach." 


https://en.wikipedia.org/wiki/Christoph_Nichelmann


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