C p e bach biography video

Carl Philipp Emanuel Bach also formerly spelled Karl Philipp Emmanuel Bach, and commonly abbreviated C.&#;P.&#;E.&#;Bach, was a German Classical period musician and composer, the fifth child and second surviving son of Johann Sebastian Bach and Maria Barbara Bach. His second name was in honor of his godfather Georg Philipp Telemann, a friend of Johann Sebastian Bach. C. P. E. Bach was an influential composer working at a time of transition between his father's Baroque style and the Classical style that followed it. His personal approach, an expressive and often turbulent one known as empfindsamer Stil or 'sensitive style', applied the principles of rhetoric and drama to musical structures. His dynamism stands in deliberate contrast to the more mannered galant style also then in vogue.

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Carl Philipp Emanuel Bach

Carl Philipp Emanuel Bach, (born March 8, , Weimar, Saxe-Weimar [Germany]—died Dec. 14, , Hamburg), second surviving son of J.S. and Maria Barbara Bach, and the leading composer of the early Classical period. A precocious musician who remained successful, C.P.E. Bach was his father’s true successor and an important figure in his own right.

In his autobiography he writes: “For composition and keyboard-playing, I have never had any teacher other than my father.” He studied law, taking his degree at Frankfurt in , although he probably never had any intention of a career other than music.

In he was appointed harpsichordist to Frederick II of Prussia. Frederick was a good flutist and so fond of music that he had his court orchestra accompany him in concerti every night except Mondays and Fridays, which were opera nights. The subservience that he required from his distinguished harpsichordist grew irksome, but it was not until that Bach was able to resign his Berlin post to take up an appointment as music director at Hamburg.

Meanwhile, he had married (), published his Versuch über die wahre Art das Klavier zu spielen (, rev. ed. ; Essay on the True Ar

The Curious World of C. P. E. Bach

Orchestral

Johann Sebastian had a lot of children - a lot. Most of them unsurprisingly composed to a greater or lesser degree: we think of Johann Christian Bach (J. C. Bach, ), the so-called "London Bach" most readily perhaps, for, his gallant, supremely well shaped music, itself a rich vein to mine into; or Wilhelm Friedemann Bach (, best known for his keyboard works, perhaps).

But one stands apart: Carl Phillip Emanuel Bach (), J.S.'s second surviving son (W. F. Bach was the first), and last born of Johann Sebastian's first wife, Maria Barbara Bach (). It is difficult to think of a more individual, quirky, fascinating output of a single composer than that of C. P. E.; I suppose a 20th century maverick-equivalent might be Sorabji. So let's have a look at two aspects of C. P. E.  in one, occasioned by two events: the release on Harmonia Mundi of a disc of his Complete String Symphonies by Gli Incogniti and Amandine Beyer; and a disc of his keyboard music (performed on piano) by Vittorio Forte on the Odradek label, brought again to my attention via  Forte's most recent release on that label - Gershwin! (the latter review will appear in a

C.P.E Bach - Biography

Carl Philipp Emanuel Bach (Weimar, March 8, � December 14, ) was a German musician and composer, the second son of Johann Sebastian Bach. He was a founder of the Classical style.

Carl Philipp Emanuel Bach

When he was ten years old he entered the St. Thomas School at Leipzig, of which in his father had become cantor, and continued his education as a student of jurisprudence at the universities of Leipzig () and of Frankfurt an der Oder (). In he took his degree, but at once abandoned all prospects of a legal career and determined to devote himself to music.

A few months later he obtained an appointment in the service of the crown prince of Prussia, on whose accession in he became a member of the royal household. He was by this time one of the foremost clavier-players in Europe, and his compositions, which date from , included about thirty sonatas and concerted pieces for his favourite instrument.

His reputation was established by the two sets of sonatas which he dedicated respectively to Frederick the Great and to the grand duke of W�rttemberg; in he was promoted to the post of chamber musician, and for twenty-two years shared with Karl Heinrich G


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