The Music of Carl Philipp Emanuel Bach (Eastman Studies in Music)
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Of the four sons of J. S. Bach who became composers, Carl Philipp Emanuel (1714-88) was the most prolific, the most original, and the most influential both during and after his lifetime. This first full-length English-language study critically surveys his output, examining not only the famous keyboard sonatas and concertos but also the songs, chamber music, and sacred works, many of which resurfaced in 1999 and have not previously been evaluated. The bookalso outlines the composer's career from his student days at Leipzig and Frankfurt (Oder) to his nearly three decades as court musician to Prussian King Frederick ""the Great"" and his last twenty years as cantor at Hamburg. Focusing on the composer's choices within his social and historical context, the book shows how C. P. E. Bach deliberately avoided his father's style while adopting the manner of his Berlin colleagues, derived from Italian opera. Anew perspective on the composer emerges from the demonstration that C. P. E. Bach, best known for his virtuoso keyboard works, refashioned himself as a writer of vocal music and popular chamber compositions in response to changingcultural and aesthetic trends. Supplementary texts and musical examples are included on a companion website.
1759 and the king’s subsequent indifference, did not return to its prewar level of activity until after Bach’s departure in 1768. Concerts, including those in the newly opened Justinischer Garden, likely filled the gap for listeners and musicians.17 Even during the war, however, musical life in Berlin and Potsdam had not ground to a halt. Krause held concerts at his house in Potsdam in which even Quantz performed, and although Bach is not mentioned in this context, it would be surprising if he
in the city’s five principal churches. His position therefore was roughly equivalent to his father’s at Leipzig, and like Sebastian’s it brought him into direct contact with the city’s intellectual and social elite. Unlike Leipzig, Hamburg was neither a publishing center nor a university city, but as a major port it enjoyed good communication with markets across northern Europe, including England. Larger and wealthier than Leipzig, Hamburg was also politically independent, and its status as a
sonorities by dotted figures in the orchestra. This was, to be sure, a generic type of scoring, used frequently by Handel and many others. But there is a melodic parallel as well between Graun’s and Bach’s respective settings of the initial “Sanctus” text: both set it repeatedly in phrases that end with a suspension decorated by a drawn-out turn (mm. 6–7 in ex. 12.4 above; cf. mm. 6–7 in $ex. 12.7). Graun’s name does not come up in Bach’s correspondence with Breitkopf about the Heilig, but it is
ambivalent (m. 20). What makes the phrase remarkable, however, is its return in measure 17 to the diminished triad on B♮, heard previously in measure 13 but without the G♯ that turns it into a diminished-seventh chord and sends it modulating in a completely different direction. This momentarily gives the phrase a circular quality (even the words der and dir sound similar), suggesting that the descending sequence has been a mere parenthesis—until the next chord, on the downbeat of measure 18,
unidentified eighteenth-century hands. 25 The intermediate version of the work illustrated in $example 4.10b, with final Cantabile in is preserved in an early print by Rellstab (Berlin, 1792). In the late version of the sonata in P 775, the note values of the last movement are halved (the meter is ) and the tempo mark is Allegretto grazioso. 26 Frederick, letter of June 8, 1735, to his sister Wilhelmine (Berlin-Dahlem, Geheimes Staatsarchiv, Brandenburg-Preußsisches Hausarchiv, Rep. 47