Carl Philipp Emanuel Bach's works for violin and harpsichord obbligato pervade his entire compositional oeuvre. The earliest works, like the Sonata in D minor still numbered BWV 1036, date back to the years of study with his father, yet show already a remarkable creative will of his own. The latest work, the fantasia 'C. P. E. Bachs Empfindungen' in F flat minor of 1787 is characterized by the composer's highly expressive late style. The new two-volume edition of Wiener Urtext Edition contains C. P. E. Bach's complete works for harpsichord (piano) obbligato and violin. Vol. 1 contains not only the sonatas Wq 71-74 and BWV 1036 but also the arrangements of the trios Wq 143-145 for violin and harpsichord, most of which are included in C. P. E. Bach's autographs, as well as a - previously ignored - early version of Wq 71 which, like BWV 1036, grants a rare insight into the early works of the composer. Vol. 2 contains the four major sonatas of 1763 which already fascinated Johannes Brahms. Brahms not only played them in concert, together with Joseph Hellmesberger, but also published two of these sonatas in 1864. This volume concludes with the two late works 'Arioso' and 'Fantasie' of 1781 and 1787 respectively. With these works, C. P. E. Bach bridged the gap between the late Baroque sonatas of his father and the early classical 'Klaviersonate mit begleitender Violine' [Piano Sonata with Accompanying Violin]. Instrumentation : violin and harpsichord (piano)

Sonatas - Sonatas Wq 75–78, Arioso Wq 79, Fantasie Wq 80. violin and harpsichord (piano).

Works for violin and harpsichord - Sonatas Wq 71–74, BWV 1036, Violinsonaten nach den Trios Wq 143–147. violin and harpsichord (piano).

Essai sur la véritable manière de jouer les instruments à clavier T2

Under the title of 'Kleinere Werke' [Small Works], the second volume of organ works by Carl Philipp Emanuel Bach in the Wiener Urtext Edition contains all works written by the composer except for the multi-movement sonatas for organ : preludes, fugues, trio, chorale arrangements and pieces for musical clock. The fugues, in particular, prove that C. Ph. E. Bach was an attentive pupil of his father. The music theoretician Friedrich Wilhelm Marpurg appreciated these fugues so much that he included some of them as examples in his theoretical writings. The pieces for musical clock are a varied selection of pieces in the style galant which were originally written for mechanical instruments and which are best to be performed on the organ. Together with the organ sonatas published in Vol. 1, this is probably the most comprehensive collection of works by Bach's second eldest son which can be performed on the organ. Instrumentation : organ

OEuvres de plus petite dimension - Edité d'après les sources par Jochen Reutter. Notes sur l'interprétation de Gerhard Weinberger. organ.

Edition Schott reflects a wide variety of music and offers a comprehensive music library suitable for students, amateur and professional musicians. Edition Schott ranges from the Renaissance to the modern era, from solo instrument to orchestra, from classical standard works to interesting rarities, and includes about twenty of Schott's acknowledged and well-established instrumental series such as Guitar Archive, Violin Library, Il Flauto Traverso and Original Music for Recorder. Edition Schott publications are known for their top quality and editorial reliability, their clearly legible notation, practical page-turns and high-quality paper. Edition Schott maintains and extends the internationally recognized tradition of excellence and reliability established in 1770 by Schott Music. Instrumentation : flute and basso continuo (harpsichord/Pianoforte), cello (viola da gamba) ad libitum Wq 133

Edition Schott

Carl Philipp Emanuel Bach's Sonata in A minor for solo flute quasi constitutes a counterpart to the partita of his father Johann Sebastian in the same key. Created in 1747, but unpublished until 1763, it heralds the sentimental style of a new era, compared to the ca. 30 years older work of his father. The edition is based on the first edition which is hidden among piano works by C. Ph. E. Bach and other composers in the anthology 'Musikalisches Mancherley'. A separate edition, also published in 1763, proved to be an offspring of the first edition with identical musical text and could be eliminated as source for the edition. But the edition was also based on a late 18th-century copy from the Giedde Collection in Copenhagen which is of great significance to the flute literature. Although it also seems to go back to the first edition, it nevertheless turns out to be a contemporary corrective to deficiencies of the first edition in some passages. The practical performance notes of the Kuijken pupil Susanne Schrage not only come close to the musical text by means of the flute method of Bach's Berlin fellow composer Johann Joachim Quantz, but also analyse relevant chapters of 'Versuch über die wahre Art, das Clavier zu spielen' by C. Ph. E. Bach himself, thus providing interpretational aids right from the composer's perspective. Instrumentation : flute Wq 132/H 562

Sonate pour Flûte seule - for Flute solo. Wq 132/H 562. flute.

In this symphony, C. Ph. E. Bach appears as pioneer of the Viennese Classicism. Just in the first movement, we encounter a theme of individual form, a seven-bar (! ) combination of syncopated tone repetition with smallsegmented triad splitting. The fact that the material of the whole movement is won from that, is a principle which was often used in the classical period. Instrumentation : 2 flutes, 2 oboes, bassoon, 2 horns, strings and basso continuo Wq 183/1

Symphony No. 1 - D major. Wq 183/1. 2 flutes, 2 oboes, bassoon, 2 horns, strings and basso continuo. Jeu de parties.

Carl Philipp Emanuel Bach, né à Weimar, dans le duché de Saxe-Weimar, le 8 mars 1714 et mort à Hambourg (ville libre d'Empire) le 14 décembre 1788, est un compositeur, musicien et musicologue allemand, membre de l'École de Berlin.
C'est le deuxième fils survivant de Jean-Sébastien Bach et de sa première femme Maria Barbara Bach.
Pendant près de trente ans, il est claveciniste à la cour de Frédéric le Grand. Puis il occupe le poste de Director Musices à Hambourg. Il est célèbre parmi ses contemporains pour sa musique, et aussi reconnu, par Haydn, Mozart ou par Beethoven, notamment pour son traité théorique « Essai sur la véritable manière de jouer les instruments à clavier ». Il est surnommé le « Bach de Berlin » ou le « Bach de Hambourg ».

Un musicien ne peut émouvoir les autres que s'il est lui aussi ému. Il doit nécessairement ressentir tous les affects qu'il espère susciter chez son auditoire, car le dévoilement de son propre humour stimulera un humour semblable chez l'auditeur.

Selon mes principes, chaque maître a sa valeur vraie et certaine. Les louanges et les critiques ne peuvent rien y changer. Seule l'œuvre elle-même loue et critique le maître, et donc je laisse à chacun sa propre valeur.

Des claviéristes dont l'actif principal est une simple technique. . . Le plus souvent, nous étouffer avec leurs prouesses sans jamais toucher nos sensibilités. Ils submergent notre audition sans le satisfaire et étourdir l'esprit sans le déplacer.

Un musicien ne peut émouvoir les autres que s'il est lui aussi ému.

Qu'est-ce qui comprend de bonnes performances? La capacité en chantant ou en jouant pour rendre l'oreille consciente du vrai contenu et l'affect d'une composition.

Le nouveau, bien qu'engageant parfois, peut souvent commencer comme offensant pour nous. Ce dernier est souvent la preuve de la valeur de cela, tandis qu'à long terme, il recevra plus de reconnaissance, que certains, de ce que nous aimions tant au début.

J'ai affecté bon nombre des basses de mon père aux étudiants, sans mettre leur vie en danger. De plus, ils ne font aucun mal aux doigts.

https://fr.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bach

Ses oeuvres

Ses derniers livres