Carl Philipp Emanuel Bach

Carl Philipp Emanuel Bach (8 March 1714 – 14 December

Carl Philipp Emanuel
1788),[1] also formerly spelled Karl Philipp Emmanuel Bach,[2]
and commonly abbreviated C.  P.  E.  Bach, was a German
Bach
Classical period composer and musician, 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 time of

transition between his father's Baroque style and the Classical style
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.
His dynamism stands in deliberate contrast to the more mannered
galant style also then in vogue.[3]

To distinguish him from his brother Johann Christian, the "London

Bach", who at this time was music master to Queen Charlotte of
Great Britain,[4] C. P. E. Bach was known as the "Berlin Bach"
during his residence in that city, and later as the "Hamburg Bach" Carl Philipp Emanuel Bach, by
when he succeeded Telemann as Kapellmeister there.[5] To his Franz Conrad Löhr (after Johann
contemporaries, he was known simply as Emanuel.[6] His second Philipp Bach)
name was in honor of his godfather Georg Philipp Telemann, a
Born 8 March 1714
friend of Johann Sebastian Bach.
Weimar, Saxe-Weimar,
Bach was an influential pedagogue, writing the ever influential Holy Roman Empire
"Essay on the true art of playing keyboard instruments", which Died 14 December 1788
would be studied by Haydn, Mozart and Beethoven, among (aged 74)
others.[7] Hamburg, Holy Roman
Empire
Life Works List of compositions
Signature
Early years: 1714–1738

C. P. E. Bach was born on 8 March 1714 in Weimar to Johann

Sebastian Bach and his first wife, Maria Barbara.[2] He was their
fifth child and third son.[1] 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 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 an der
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.[8]

Berlin years: 1738–1768

A few months after graduation, Bach, armed

with a recommendation by the Graun brothers
(Johann Gottlieb and Carl Heinrich) and
Sylvius Leopold Weiss,[9] 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 Flötenkonzert Friedrichs des Großen in Sanssouci
time there, Berlin was a rich artistic ("Frederick the Great's Flute Concert in Sanssouci") by
environment, where Bach mixed with many Adolph von Menzel, 1852, depicts Frederick the Great
accomplished musicians, including several playing the flute as C. P. E. Bach accompanies on the
notable former students of his father, and keyboard. The audience (invented by Menzel, and not
important literary figures, such as Gotthold based on any actual occasion) includes Bach's colleagues
Ephraim Lessing, with whom the composer as well as nobles.
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 Württemberg (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]

The composer who most influenced Bach's maturing style was

unquestionably his father. He drew creative inspiration from his Detail from previous image
godfather Georg Philipp Telemann, then working in Hamburg, and
from contemporaries like George Frideric Handel, Carl Heinrich
Graun, Joseph Haydn and Wolfgang Amadeus Mozart later. Bach's interest in all types of art led to
influence from poets, playwrights and philosophers such as Friedrich Gottlieb Klopstock, Moses
Mendelssohn and Lessing. Bach's work itself influenced the work of, among others, Haydn, Mozart,
Beethoven and Felix Mendelssohn.

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 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 die
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] 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, as well as performance suggestions and a brief section 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 builder of keyboard instruments.[11] In the recent years one of the models of
pianos that Bach was playing, Gottfried Silbermann 1749, was used as a model for making modern piano
copies.[12]

Hamburg: 1768–1788

In 1768,[1] after protracted negotiations,[2] Bach was permitted to relinquish his position in order to 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.[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 following year he produced his most ambitious work,[2] the
oratorio Die Israeliten in der Wüste (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 1773, Bach wrote an autobiography: he was one of the first composers to write
such an account of his life.[14] In Hamburg he also presented a number of works by contemporaries,
including his father, Telemann, Graun, Handel, Haydn, Mozart, Salieri and Johann David Holland (1746–
1827).[15] 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 1774–1782, 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.[16]
Bach married Johanna Maria Dannemann in 1744. Only three of their children lived to adulthood: 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 the age of 29 during a 1778 trip
to Italy.[17] Emanuel Bach died in Hamburg on 14 December 1788.[1] He was buried in the
Michaeliskirche in Hamburg.

Works
Sonatas by C.P.E. Bach
Flute Sonata in B-flat major
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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
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Sonata, H 542.5 – 2. Adagio

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Sonata, H 542.5 – 3. Allegro

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All performed by Alex Murray (traverso) and Martha Goldstein (harpsichord)

Flute Sonata in G major

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Performed by Alex Murray (flute) and Martha Goldstein (harpsichord)

Keyboard Sonata in D minor, Wq. 51/4, H.128 – I. Allegro assai

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Performed by Christopher Hinterhuber (piano)

Problems playing these files? See media help.

Other music by C. P. E. Bach

Solfeggietto
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Freie Fantasie, F-sharp minor

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Performed by Joan Benson (clavichord)

Flute Concerto in G major – 1. Allegro

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Performed by the Advent Chamber Orchestra with Constance Schoepflin (flute)

 Flute Concerto in G major – 2. Largo
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Performed by the Advent Chamber Orchestra with Constance Schoepflin (flute)

Flute Concerto in G major – 3. Presto

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Performed by the Advent Chamber Orchestra with Constance Schoepflin (flute)

Problems playing these files? See media help.

Keyboard Works in the 1722 "Notebook for Anna Magdalena Bach"

March in D major, BWV Anh. 122, Polonaise in G minor, BWV Anh. 123, March in G major, BWV Anh.
124, Polonaise in G minor, BWV Anh. 125

Symphonies

Among Bach's most popular and frequently recorded works are his symphonies.[18] While in Berlin, he
wrote several string symphonies (Wq. 173–181), 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 for private use),[19] but since their rediscovery, have become
increasingly popular.

However, Bach's best works in the form (by his own estimation)[20] are assuredly the four Orchester-
Sinfonien mit zwölf 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.[20]
Some of its more unusual features have been taken as characteristic of Bach's style:[21] 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

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. 170–172), 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.[22]

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.[23] 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 and piano. Additionally, he wrote several sonatinas for one or more
keyboards and orchestra.

Chamber music

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 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 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.
Six Sonates pour le Clavecin à l'usage des Dames, 1770 ("Damen" sonatas), Wq. 54.
Six collections of Clavier Sonaten für Kenner und Liebhaber, 1779–87 ("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).[24]

Wq. 64:1–6 are six sonatinas for keyboard, and Wq. 65:1–50 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.[25]

Other keyboard works

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".[26] 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
Clavierstücke verschiedener 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 piano (Bach was later to publish an entire collection of keyboard versions of his
symphonies).

He also wrote a set of six sonatas for the organ of Frederick the Great's sister Anna Amalia.

Music for mechanical instruments

Stücke für Spieluhren auch Drehorgeln (i.e. pieces for music boxes and barrel organs)
Tune for musical clock in D Major, Wq. 193/02
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Tune for musical clock in C Minor, Wq. 193/04

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

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

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Tune for musical clock, Wq. 193/11

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Tune for music box, Wq. 193/12

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Problems playing these files? See media help.

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.[27][28] 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.[29]

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 Wüste, Wq.
238 and Die Auferstehung und Himmelfahrt Jesu, Wq. 240, and 21 Passions.

Unpublished works
Many of C.P.E. 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 War and hidden to preserve it from Allied bombing, captured and sequestered by USSR forces in
1945, thus long believed lost or destroyed during the war.

The archive was discovered in Kyiv, Ukraine, in 1999, returned to Berlin in 2001, and deposited in the
Staatsbibliothek. It contained 5,100 musical compositions, none ever printed for the public, including 500
by 12 different members of the Bach family.[30]

Legacy and musical style

Through the later half of the 18th century, the reputation of Carl Philipp Emanuel Bach stood very high,[1]
surpassing that of his father.[7] Haydn, Mozart and Beethoven admired him and "avidly" collected his
music.[7] Mozart said of him, "Bach is the father, we are the children."[1][31]

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]

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 Müthel, and Friedrich Wilhelm
Rust. His influence was not limited to his contemporaries and extended to Felix Mendelssohn[32] and Carl
Maria von Weber.[33]

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";[34] 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 Miklós
Spányi 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 Sächsische 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 Hänssler Classic, performed on a modern Bösendorfer 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).
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.[35]

Anniversary year 2014

2014 marked the 300th anniversary of Carl Philipp Emanuel Bach's birth. All six German Bach cities—
Hamburg, Potsdam, Berlin, Frankfurt-on-the-Oder, Leipzig, and Weimar—hosted concerts and other events
to commemorate the anniversary.[36]

References
Notes

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_b
ach.htm)
5. Allison, John. "CPE Bach at 300: why he's more than just Johann Sebastian's son (https://w
ww.telegraph.co.uk/culture/music/classicalmusic/10577996/CPE-Bach-at-300-why-hes-mor
e-than-just-Johann-Sebastians-son.html)", The Telegraph, 26 January 2014.
6. "Carl Phillipp Emanuel Bach (http://www.classiccat.net/bach_cpe/biography.php)"
ClassicalCat.net
7. Dammann, Guy (24 February 2011). "CPE Bach: like father, like son" (https://www.theguardi
an.com/music/2011/feb/24/cpe-bach). The Guardian.
8. Thompson (1998), p. 32.
9. Percy M. Young, The Bachs, 1500–1850, p. 167
10. Spányi, Miklós [in German] (2016). Schulenberg, David (ed.). C. P. E. Bach (https://books.go
ogle.com/books?id=FTorDwAAQBAJ&pg=PA495). London and New York: Routledge.
p. 495. ISBN 978-1-4724-4337-3.
11. Kipnis, Igor (15 April 2013). The Harpsichord and Clavichord: An Encyclopedia (https://book
s.google.com/books?id=LG3DUo0pBckC&q=gottfried+silbermann+clavichord+book).
Routledge. ISBN 978-1-135-94978-5.
12. "Malcolm Bilson: The Pattern-Prelude Tradition of J. S. Bach and the Silbermann Piano as
Precursors to Beethoven's Moonlight – Cornell Center for Historical Keyboards" (https://ww
w.historicalkeyboards.org/malcolm-bilson-the-pattern-prelude-tradition-of-j-s-bach-and-the-si
lbermann-piano-as-precursors-to-beethovens-moonlight/). Retrieved 24 June 2021.
13. Thompson (1998), pp. 30, 56.
14. (Corp), Dorling Kindersley (2022). Music : the definitive visual history (https://www.worldcat.o
rg/oclc/1314382566). London. ISBN 978-0-241-55902-4. OCLC 1314382566 (https://www.w
orldcat.org/oclc/1314382566).
15. Thompson (1998), p. 37.
16. Thompson (1998), pp. 47–48.
17. Thompson (1998), p. 98.
18. Carl Philipp Emanuel Bach The Complete Works, Preface: Symphonies (http://cpebach.org/
prefaces/symphonies-preface.html).
19. Complete Works, Vol. III/2, Preface.
20. Complete Works, Vol. III/3, Preface.
21. Richard Crocker, A History of Musical Style
22. Complete Works, Vol. III/6, Preface.
23. Complete Works, Vol. III/8, Preface.
24. Complete Works, Vol. I/4, Preface.
25. Bach Digital Work 01440 (http://www.bachdigital.de/receive/BachDigitalWork_work_000014
40?lang=en)
26. "Contents of The Essential C.P.E. Bach (https://web.archive.org/web/20140825052506/htt
p://cpebach.org/toc/toc-Essential.html)". Via archive.org.
27. "Cramer and Sturm Songs" in Complete Works, ser. VI, v. 2., p. xxiii (Packard Humanities
Institute, 2009).
28. Shepherd, John. Continuum Encyclopedia of Popular Music of the World (https://books.goog
le.com/books?id=pJvzEzjahkQC&pg=PA325), Vol. II, p. 325 (A&C Black, 2003).
29. Altman, Ludvig. "A well-tempered musician's unfinished journey through life: oral history
transcript (https://archive.org/stream/welltemperedmusical00altmrich/welltemperedmusical0
0altmrich_djvu.txt)", UC Berkeley, 1990, 125b. Via archive.org.
30. 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" (https://www.ucis.pitt.edu/nceeer/2003_816_03_Grimsted.pdf), Harvard Ukrainian
Research Institute, 2003
31. Rochlitz (1824–1832), pp. 308 ff quoted in Ottenberg (1987), p. 98 & 191
32. "Felix Mendelssohn: Reviving the Works of J.S. Bach" (https://www.loc.gov/item/ihas.20015
6436/). Library of Congress. Retrieved 16 June 2020.
33. Carl Maria von Weber (https://books.google.com/books?id=bp08AAAAIAAJ&pg=PA105)
(2d ed.). Cambridge University Press. 18 November 1976. p. 105. ISBN 978-0-521-29121-7.
Retrieved 16 June 2020.
34. 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
35. Stadt Hamburg, CPE Bach-Museum (https://www.hamburg.de/museum-hamburg/4467104/b
ach-museum/)
36. www.cpebach.de (http://www.cpebach.de/en), Official Anniversary Website for Carl Philipp
Emanuel Bach.

Sources

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.
Baynes, T. S., ed. (1878), "Karl Philipp Emmanuel Bach"  (https://en.wikisource.org/wiki/Enc
yclop%C3%A6dia_Britannica,_Ninth_Edition/Karl_Philipp_Emmanuel_Bach),
Encyclopædia Britannica, vol. 3 (9th ed.), New York: Charles Scribner's Sons, p. 196
Ottenberg, Hans-Günter (1987), Carl Philipp Emanuel Bach, translated by Whitmore, Philip
J., OUP, ISBN 978-0-19-315246-5.
Ratner, Leonard G. (1980), Classic Music: Expression, Form 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 Institute 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
The New Grove Dictionary of Music and Musicians (2001) contains a biography and list of
his compositions.
Oleskiewicz, Mary. "Like Father, Like Son? Emanuel Bach and the Writing of Biography," in
Music and Its Questions: Essays in Honor 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): 20–30.
Oleskiewicz, Mary, ed. J. S. Bach and His Sons, vol. 11 of Bach Perspectives, Illinois
University Press, 2017. See also the Web companion (https://www.press.uillinois.edu/books/
oleskiewicz/bp11/index.html), which shows images of historical keyboards he played, and
places where C. P. E. Bach performed, at the Prussian Court.
Schulenberg, David. The Music of Carl Philipp Emanuel Bach (Rochester: University of
Rochester Press, 2014).
Schulenberg, David. Chronological list of all of C.P.E. Bach's Works (https://4hlxx40786q1os
p7b1b814j8co-wpengine.netdna-ssl.com/david-schulenberg/files/2012/12/helm_cat_chron.p
df)

External links
Free scores by Carl Philipp Emanuel Bach at the International Music Score Library Project
(IMSLP)
Performances of some works (https://musopen.org/music/composer/carl-philipp-emanuel-ba
ch/) at Musopen
A Tribute to Carl Philipp Emanuel Bach (http://www.pennuto.com/music/cpe_bach.htm),
sketch of the composer's life with extensive references
Complete Catalogue (http://www.uquebec.ca/musique/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.cpebac
h.org/)
Finding the Lost Manuscripts of C.P.E. Bach (https://web.archive.org/web/20080716153641/
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"  (https://en.wikisource.org/wiki/The_New_International_Encyc
lop%C3%A6dia/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
Ensayo sobre la verdadera manera de tocar el teclado, spanish version of the Versuch (Eva
Martínez Marín ed.), Ed. Dairea, Galapagar, Madrid, Spain, 2017 (http://daireatienda.es/Ensa
yo-sobre-la-verdadera-manera-de-tocar-el-tecla)
 Free scores by Carl Philipp Emanuel Bach in the Choral Public Domain Library
(ChoralWiki)
Piano Sonatas by CPE Bach played by Taisia Hadizadeh (https://www.youtube.com/watch?
v=T9D3UKZymZk) on YouTube (https://www.youtube.com/)
Trio sonata in C minor, H. 579, 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
"Hamburger Sonata Wq. 133" (https://www.youtube.com/watch?v=TqkqdsFQG00) on
YouTube, played by Eckhart Duo
Early fortepiano after the Silbermann model C. P. E. Bach played in Potsdam (https://www.fo
rtepiano.eu/silbermann-after-1749/)

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