By David Schulenberg
Of the 4 sons of J. S. Bach who turned composers, Carl Philipp Emanuel (1714-88) used to be the main prolific, the main unique, and the main influential either in the course of and after his lifetime. this primary full-length English-language research severely surveys his output, analyzing not just the recognized keyboard sonatas and concertos but in addition the songs, chamber tune, and sacred works, lots of which resurfaced in 1999 and feature now not formerly been evaluated. The bookalso outlines the composer's occupation from his scholar days at Leipzig and Frankfurt (Oder) to his approximately 3 many years as court docket musician to Prussian King Frederick ""the Great"" and his final two decades as cantor at Hamburg. concentrating on the composer's offerings inside of his social and old context, the e-book exhibits how C. P. E. Bach intentionally refrained from his father's variety whereas adopting the way of his Berlin colleagues, derived from Italian opera. Anew point of view at the composer emerges from the demonstration that C. P. E. Bach, top identified for his virtuoso keyboard works, refashioned himself as a author of vocal track and renowned chamber compositions based on changingcultural and aesthetic traits. Supplementary texts and musical examples are integrated on a spouse site.
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Extra info for The Music of Carl Philipp Emanuel Bach (Eastman Studies in Music)
Possibly Bach begun through selecting a resource paintings or works whose arias or choruses have been beautiful for one cause or one other. Forming those right into a coherent association or pastiche may need required changes of assorted kinds to person numbers, and every now and then a B part could be passed over or a long a piece shortened. within the passions, the moments at which the gospel recitation is interrupted for reflective arias, choruses, or chorales may perhaps differ from 365 days to the subsequent. In these circumstances, the component to the gospel recitative instantly previous or following the inserted quantity must be rewritten, occasionally with an altered modulating scheme.
55/3 of 1779. 15 As famous by means of Oleskiewicz (CPEBCW 2/1:xv). Bach additionally demands f‴ in later flute components, as within the aria “Mitten unter deinen Schmerzen” in his 1787 Saint Luke ardour. sixteen For trade methods of examining Sebastian’s ritornello-form concerto events, see Schulenberg, “The Sonate auf Concertenart,” 90–93. 17 As is sometimes steered, for instance, through Stevens, The Bach relations and the Keyboard Concerto, 58–62, in regards to BWV 1052, 1053, 1054, and 1055. 18 Schwinger, Die Musikaliensammlung Thulemeier, 484, mentions a Berlin concerto by way of Janitsch dated 1736 in a single resource, one other via Graun from the next yr.
Bach’s favorite device? ” forty four. 10 most likely the paintings was once the results of a fee from the landlord of a unique software, even if the latter has now not been pointed out. The terminology utilized in the registrations, for instance, “flute” for the quiet concluding version, has prompted the sonata to be misunderstood as an organ paintings; for rationalization see Koster, “The Harpsichord tradition in Bach’s Environs,” 67–69. eleven those comprise lots of the separately released sonatas of the overdue 1740s and early 1750s, reminiscent of W.
See revisions below Bach, Carl Philipp Emanuel Eschenburg, Johann Joachim expression, musical fantasia; fantasia (fantasy) type; improvisation of Fasch, Carl Friedrich Christian Fasch, Johann Friedrich fermata figured bass, in composition; and concord; functionality of fingering, in keyboard works: fluten15. See additionally recorder Forkel, Johann Nicolaus shape, musical fortepiano (piano); in concertos; in quartets; in rondos Frankfurt (Oder) Frederick II “the Great,” king of Prussia; on church tune; as composer; live shows; “first servant of the state,”; as customer; as performer; symphony in D; written-out elaborations Freemasonry.
Musikalisches Lexikon. Frankfurt: August Hermann der Jünger, 1802. Kopitzsch, Franklin. “Die Hamburger Aufklärung zur Zeit Carl Philipp Emanuel Bachs. ” In Carl Philipp Emanuel Bach und die europäische Musikkultur des mittleren 18. Jahrhunderts: Bericht über das Internationale Symposium der Joachim Jungius–Gesellschaft der Wissenschaften Hamburg 29. September–2. Oktober 1988, edited by way of Hans Joachim Marx, 79–91. Göttingen: Vandenhoeck & Ruprecht, 1990. Koprowski, Richard. “Bach ‘Fingerprints’ within the Engraving of the unique version [of the paintings of Fugue].