The second son of Johann Sebastian Bach, C.P.E. Bach was an important composer in his own right, as well as a writer and performer on keyboard instruments. He composed roughly a thousand works in all the leading genres of the period, with the exception of opera, and Haydn, Mozart and Beethoven all acknowledged his influence. He was also the author of a two-volume encyclopedic book about performance on keyboard instrument. C.P.E. Bach and his music have always been the subject of significant scholarship and publication but interest has sharply increased over the past two or three decades from performers as well as music historians. This volume incorporates important writings not only on the composer and his chief works but also on theoretical issues and performance questions. The focus throughout is on relatively recent scholarship otherwise available only in hard-to-access sources.
Contents: Introduction. Part I The Composer and his Works: Appreciating the music of C.P.E. Bach today, Miklós Spányi; C.Ph.E. Bach und das redende Prinzip in der Musik, Arnold Schering; Like father, like son? Emanuel Bach and the writing of biography, Mary Oleskiewicz; C.P.E. Bach, Georg Philipp Telemann und die Osterkantate 'Gott hat den Herrn auferwecket' Wq 244, Peter Wollny; C.P.E. Bach as a publisher of his own works, Stephen L. Clark; Carl Philipp Emanuel Bachs Umarbeitungen seiner Claviersonaten, Darrell M. Berg; Carl Philipp Emanuel Bach, the restless composer, Rachel Wade. Part II Individual Compositions and their Sources: Two notes on C.P.E. Bach, John A. Parkinson and Rodney Baldwyn; The ‘Hamlet’ fantasy and the literary element in C.P.E. Bach's music, Eugene Helm; Toward a comprehensive C.P.E. Bach chronology: Schrift-Chronologie and the issue of Bach's ‘late hand’, Pamela Fox; Untitled introductions to two audio CDs containing recordings of Bach’s keyboard concertos and ensemble sonatinas, Jane Stevens; Picturing the moment in sound: C.P.E. Bach and the musical portrait, Annette Richards; A new look at C.P.E. Bach’s musical jokes, Susan Wollenberg; C.P.E. Bach’s evangelist, Johann Heinrich Michel, Paul Corneilson; C.P.E. Bach’s unknown late collections of songs, Christoph Wolff; Reason and revelation in C.P.E. Bach's resurrection oratorio, Richard Will. Part III The Versuch and other Writings: C.P.E. Bach’s Versuch and its context in 18th-century thorough-bass pedagogy, Thomas Christensen; Modulation in C.P.E. Bach’s Versuch, William J. Mitchell; The new modulation of the 1770s: C.P.E. Bach in theory, criticism, and practice, Richard Kramer; Die Kunst der Improvisation, Heinrich Schenker; Nichelmann contra C.Ph.E. Bach: Harmonic Theory and Musical Politics at the Court of Frederick the Great, Thomas Christensen. Part IV Performance and Reception: ‘Our old great favourite’: Burney, Bach, and the Bachists, Christopher Hogwood; When did the clavichord become C.P.E. Bach's favourite instrument? An inquiry into expression, style, and medium in 18th-century keyboard music, David Schulenberg; Performer’s remarks’ for four audio CDs containing recordings of Bach’s keyboard concertos and ensemble sonatinas, Miklós Spányi. Name index.