By David Schulenberg
Of the 4 sons of J. S. Bach who turned composers, Carl Philipp Emanuel (1714-88) was once 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 learn significantly surveys his output, analyzing not just the well-known keyboard sonatas and concertos but additionally the songs, chamber tune, and sacred works, a lot of which resurfaced in 1999 and feature now not formerly been evaluated. The bookalso outlines the composer's profession from his scholar days at Leipzig and Frankfurt (Oder) to his approximately 3 many years as courtroom 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 ancient context, the publication indicates how C. P. E. Bach intentionally kept away from his father's sort 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 recognized for his virtuoso keyboard works, refashioned himself as a author of vocal track and well known chamber compositions according to changingcultural and aesthetic developments. Supplementary texts and musical examples are integrated on a significant other site.
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Additional info for The Music of Carl Philipp Emanuel Bach (Eastman Studies in Music)
After pointing out the hot subject matter, the sonata move reverts to one of those passagework comparable to J. S. Bach (mm. 24–28) which Emanuel tended to prevent in later works. Trios except keyboard works, trios are the one workforce of compositions that supply massive fabric from Bach’s Leipzig interval. 20 not like keyboard sonatas and concertos, which he composed all through his lifestyles, Bach wrote trios purely throughout the prior elements of his occupation. NV areas the 1st seven such works inside a unmarried 12 months (1731) at Leipzig; whether this isn't strictly exact, it means that Bach later seen those items as having been composed lower than his father’s tutelage. The observe trio is used the following, as in mid-eighteenth-century Germany, to consult works that contain equivalent melodic components supported via a bass line. The latter, that is often figured, is less complicated standard than the higher elements, purely sometimes having an self reliant melodic personality of its personal. as a result those items are relatively duets for 2 melody tools with accompaniment, now not trios for 3 equivalent contrapuntal voices, like Sebastian’s trio sonatas. of Emanuel’s early works of this kind are for violin and obbligato keyboard (W. 71–72), yet they continue to be trios because the time period was once understood. 21 lots of his different trios exist then again as obbligato-keyboard items in addition. certainly, Emanuel’s trios, like these of Quantz and the Graun brothers, have been occasionally notated in any such demeanour that one of many top elements might be performed as both a solo melody half on flute or violin, or because the right-hand part of a keyboard half. 22 The substitution of 1 software for an additional used to be facilitated through the conservative type of those works, which hardly demand the idiomatic functions of flute, violin, or keyboard. Bach should have composed many trios assuming that they might be played with various instrumentation, and the choice scorings hardly concerned any major editions. therefore, Emanuel’s Sonata in E for 2 flutes and bass, indexed as W. 162, is similar paintings as W. eighty four for keyboard and flute; in NV they seem as exchange types of Trio 15, composed in 1749. 23 even if Emanuel used to be pondering alongside those traces ahead of he reached Berlin is unknown. even supposing no less than certainly one of Sebastian’s obbligato-keyboard sonatas with flute (BWV 1032) most likely originated as a standard trio sonata, the idiomatic keyboard components in his six works with violin (BWV 1014–19) don't continually include a unmarried melodic line with bass. an identical is right of Emanuel’s Trio 1 (W. 71). but at the very least of his Berlin sonatas for keyboard and violin (W. seventy three and 74), in addition to 4 of the 5 obbligato-keyboard trios with flute, additionally exist as what we might name common trio sonatas. Bach released the 2 trio sonatas of 1748–49 (W. 161) with directions for appearing them as obbligato-keyboard works. He additionally ready elements for 3 of the Leipzig trio sonatas that may have authorized their functionality, too, as obbligato-keyboard sonatas. even supposing the surviving types of the latter items should have been items in their “renovation” at Berlin, the brevity and comparatively basic personality of a number of pursuits recommend that those, at the least, stay with reference to their unique types (for additional dialogue of different scorings for Bach’s trios, see three.