Carl Philipp

Emanuel Bach

Carl Philipp Emanuel Bach

Carl Philipp Emanuel Bach (8 March 1714
– 14 December 1788),[1] also formerly
spelled Karl Philipp Emmanuel Bach,[2]
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 given 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.
Bach's dynamism stands in deliberate
contrast to the more mannered galant
style also then in vogue.[3]

To distinguish him from his brother

Johann Christian, the "London Bach," who
at this time was music master to the
Queen of England,[4] C. P. E. Bach was
known as the "Berlin Bach" during his
residence in that city, and later as the
"Hamburg Bach" when he succeeded
Telemann as Kapellmeister there.[5] To his
contemporaries, he was known simply as
Emanuel.[6]

Life
Early years: 1714–38

C. P. E. Bach was born on 8 March 1714 in

Weimar to Johann Sebastian Bach and his
first wife, Maria Barbara.[2] He was the
composer's third son.[1] The composer
Georg Philipp Telemann was his
godfather. When he was ten years old, he
entered the St. Thomas School at
Leipzig,[2] where his father had become
cantor in 1723.[1] He was one of four Bach
children to become professional
musicians; all four were trained in music
almost entirely by their father. In an age of
royal patronage, father and son alike knew
that a university education helped prevent
a professional musician from being
treated as a servant. Carl, like his brothers,
pursued advanced studies in jurisprudence
at the University of Leipzig in 1731[2] and
at Frankfurt-on-the-Oder in 1735.[1] In
1738, at the age of 24, he obtained his
degree but never practiced law,[1] instead
turning his attention immediately to
music.[7]

Berlin years: 1738–68

Flötenkonzert Friedrichs des Großen in Sanssouci

("Frederick the Great's Flute Concert in Sanssouci") by
Adolph von Menzel, 1852, depicts Frederick the Great
playing the flute as C. P. E. Bach accompanies on the
keyboard. The audience (invented by Menzel, and not
based on any actual occasion) includes Bach's
colleagues as well as nobles.

Detail from previous image

A few months after graduation, Bach

armed with a recommendation by the
Graun brothers (Johann Gottlieb and Carl
Heinrich) and Sylvius Leopold Weiss,[8]
obtained an appointment at Berlin[2] in the
service of Crown Prince Frederick of
Prussia, the future Frederick the Great.
Upon Frederick's accession in 1740, Bach
became a member of the royal
orchestra.[1] He was by this time one of the
foremost clavier players in Europe, and his
compositions, which date from 1731,
include about thirty sonatas and concert
pieces for harpsichord and clavichord.[1]
During his time there, Berlin was a rich
artistic environment, where Bach mixed
with many accomplished musicians,
including several notable former students
of his father, and important literary figures,
such as Gotthold Ephraim Lessing, with
whom the composer would become close
friends.

In Berlin, Bach continued to write

numerous pieces for solo keyboard,
including a series of character pieces, the
so-called "Berlin Portraits", including "La
Caroline". His reputation was established
by the two sets of sonatas which he
published with dedications to Frederick
the Great (1742) and to Charles Eugene,
Duke of Württemberg (1744).[1] In 1746, he
was promoted to the post of chamber
musician (Kammermusikus) and served
the king alongside colleagues like Carl
Heinrich Graun, Johann Joachim Quantz,
and Franz Benda.[1]

The composer who most influenced

Bach's maturing style was unquestionably
his father. He drew creative inspiration
from his godfather Georg Philipp
Telemann, then working in Hamburg, and
from contemporaries like George Frideric
Handel, Carl Heinrich Graun and Joseph
Haydn. Bach's interest in all types of art
led to influence from poets, playwrights
and philosophers such as Friedrich
Gottlieb Klopstock, Moses Mendelssohn
and Gotthold Ephraim Lessing. Bach's
work itself influenced the work of, among
others, Haydn, Mozart, Beethoven and
Felix Mendelssohn.

During his residence in Berlin, Bach

composed a setting of the Magnificat
(1749), in which he shows more traces
than usual of his father's influence;[1] an
Easter cantata (1756); several symphonies
and concert works; at least three volumes
of songs, including the celebrated Gellert
Songs; and a few secular cantatas and
other occasional pieces.[1] But his main
work was concentrated on the clavier, for
which he composed, at this time, nearly
two hundred sonatas and other solos,
including the set Mit veränderten Reprisen
(With Varied Reprises, 1760–1768).[1]

While in Berlin, Bach placed himself in the

forefront of European music with a
treatise, Versuch über die wahre Art das
Clavier zu spielen (An Essay on the True Art
of Playing Keyboard Instruments),
immediately recognised as a definitive
work on keyboard technique. "Both Haydn
and Beethoven swore by it."[9] By 1780, the
book was in its third edition and laid the
foundation for the keyboard methods of
Clementi and Cramer.[1] The essay lays out
the fingering for each chord and some
chord sequences. Bach's techniques
continue to be employed today. The first
part of the Essay contains a chapter
explaining the various embellishments in
work of the period, e.g., trills, turns,
mordents, etc. The second part presents
Bach's ideas on the art of figured bass and
counterpoint, where he gives preference to
the contrapuntal approach to
harmonization over the newer ideas of
Rameau's theory of harmony and root
progressions.
Hamburg: 1768–88

In 1768,[1] after protracted negotiations,[2]

Bach was permitted to relinquish his
position in order to succeed his godfather
Telemann as director of music
(Kapellmeister)[1] at Hamburg. Upon his
release from service at the court he was
named court composer for Frederick's
sister, Princess Anna Amalia. The title was
honorary, but her patronage and interest in
the oratorio genre may have played a role
in nurturing the ambitious choral works
that followed.[10]
Bach began to turn more of his energies to
ecclesiastical and choral music in his new
position. The job required the steady
production of music for Protestant church
services at the Michaeliskirche (Church of
St. Michael) and elsewhere in Hamburg.
The following year he produced his most
ambitious work,[2] the oratorio Die
Israeliten in der Wüste (The Israelites in the
Desert), a composition remarkable not
only for its great beauty but for the
resemblance of its plan to that of Felix
Mendelssohn's Elijah.[1] Between 1768 and
1788, he wrote twenty-one settings of the
Passion, and some seventy cantatas,
litanies, motets, and other liturgical
pieces.[1] In Hamburg he also presented a
number of works by contemporaries,
including his father, Telemann, Graun,
Handel, Haydn, Salieri and Johann David
Holland (1746–1827).[11] Bach's choral
output reached its apex in two works: the
double chorus Heilig (Holy) of 1776, a
setting of the seraph song from the throne
scene in Isaiah, and the oratorio Die
Auferstehung und Himmelfahrt Jesu (The
Resurrection and Ascension of Jesus) of
1774–82, which sets a poetic Gospel
harmonization by the poet Karl Wilhelm
Ramler. Widespread admiration of
Auferstehung led to three 1788
performances in Vienna sponsored by the
Baron Gottfried van Swieten and
conducted by Mozart.[12]

Bach married Johanna Maria Dannemann

in 1744. Only three of their children lived to
adulthood: Johann Adam (1745–89), Anna
Carolina Philippina (1747–1804), and
Johann Sebastian "the Younger" (1748–
78). None became musicians and Johann
Sebastian, a promising painter, died in his
late twenties during a 1778 trip to Italy.[13]
Emanuel Bach died in Hamburg on 14
December 1788.[1] He was buried in the
Michaeliskirche in Hamburg.

Works
Sonatas by C. P. E. Bach
Flute Sonata in B flat major

Performed by Alex Murray (flute) and

Martha Goldstein (harpsichord)

Sonata for Flute or Recorder and

Harpsichord in G minor, H 542.5 (BWV
1020) – 1. Allegro

Sonata, H 542.5 – 2. Adagio

Sonata, H 542.5 – 3. Allegro

All performed by Alex Murray

(traverso) and Martha Goldstein
(harpsichord)
( )
Flute Sonata in G major

Performed by Alex Murray (flute) and

Martha Goldstein (harpsichord)

Keyboard Sonata in D minor, Wq. 51/4,

H.128 – I. Allegro assai

Performed by Christopher Hinterhuber

(piano)

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Other music by C. P. E. Bach
Solfeggietto

Freie Fantasie, F sharp minor

Performed by Joan Benson

(clavichord)

Flute Concerto in G major – 1. Allegro

Performed by the Advent Chamber

Orchestra with Constance Schoepflin
(flute)

Flute Concerto in G major – 2. Largo

Performed by the Advent Chamber

Orchestra with Constance Schoepflin
 (flute)

Flute Concerto in G major – 3. Presto

Performed by the Advent Chamber

Orchestra with Constance Schoepflin
(flute)

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media help.

Symphonies

Among Bach's most popular and

frequently recorded works are his
symphonies.[14] While in Berlin, he wrote
several string symphonies (Wq. 173–181),
most of which were later revised to add
parts for wind instruments. Of these, the E
minor symphony, Wq. 178, has been
particularly popular.

In Hamburg, Bach wrote a major set of six

string symphonies for Gottfried van
Swieten, Wq. 182. These works were not
published in his lifetime (van Swieten, who
had commissioned them to be written in a
more "difficult" style, preferred to retain
them for private use),[15] but since their
rediscovery, have become increasingly
popular.
However, Bach's best works in the form (by
his own estimation)[16] are assuredly the
four Orchester-Sinfonien mit zwölf
obligaten Stimmen, Wq. 183, which, as
their title suggests, were written with
obbligato wind parts that are integral to
the texture, rather than being added on to
an older string symphony. The first
symphony (D major) in the set has been
particularly popular, seeing a continuous
performance and publication tradition all
the way through the 19th century, which
makes it the earliest such symphony.[16]
Some of its more unusual features have
been taken as characteristic of Bach's
style:[17] the work, although it is in D major,
begins on a D major chord, which then
turns into a D dominant-seventh chord,
outlining G major. In fact, there is no
cadence on D major (D major is not
"confirmed" as the key of the piece) until
the beginning of the recapitulation, quite
late in the piece.

Concertos

Bach was a prolific writer of concertos,

especially for keyboard. Like his father, he
would often transcribe a concerto for
various instruments, leading to problems
determining which came first. For
instance, the three cello concertos (Wq.
170–172), which are cornerstones of that
instrument's repertoire, have often been
considered to be transcriptions of the
harpsichord versions, but recent research
has suggested that they might be
originally for cello.[18]

According to Bach, his finest keyboard

concertos were the Sei concerti per il
cembalo concertato, Wq. 43, which were
written to be somewhat more appealing,
and somewhat easier to play.[19] His other
concertos were written for oboe, flute, and
organ. Bach also wrote for more unusual
combinations, including an E-flat major
concerto for harpsichord and piano.
Additionally, he wrote several sonatinas for
one or more keyboards and orchestra.

Chamber music

Bach's chamber music forms something

of a bridge between stereotypically
Baroque and Classical forms. On the one
hand, he wrote trio sonatas and solo
sonatas with basso continuo (including
ones for harp and viola da gamba); on the
other, he wrote several accompanied
sonatas for piano, violin, and cello, which
are more or less early piano trios, and
three very popular quartets for keyboard,
flute, and viola. Bach also wrote one of the
earliest pieces for solo flute, a sonata that
is clearly influenced by his father's Partita
in A minor for solo flute, BWV 1013.

Keyboard sonatas

Bach was a prolific writer of keyboard

sonatas, many of which were intended for
his favored instrument, the clavichord.
During his lifetime, he published more
collections of keyboard music than
anything else, in the following collections:

Sei sonate per cembalo che all' augusta

maestà di Federico II, re di Prussia, 1742
("Prussian" sonatas), Wq. 48.
Sei sonate per cembalo, dedicate all'
altezza serenissima di Carlo Eugenio,
duca di Wirtemberg, 1744
("Württemberg" sonatas), Wq. 49.
Achtzehn Probe-Stücke in Sechs Sonaten,
1753 ("Probestücke" sonatas), Wq. 63.
Sechs Sonaten fürs Clavier mit
veränderten Reprisen, 1760 ("Reprisen"
sonatas), Wq. 50.
Fortsetzung von Sechs Sonaten fürs
Clavier, 1761 ("Fortsetzung" sonatas),
Wq. 51.
Zweite Fortsetzung von Sechs Sonaten
fürs Clavier, 1763 ("Zweite Fortsetzung"
sonatas), Wq. 52.
Sechs Leichte Clavier Sonaten, 1766
("Leichte" sonatas), Wq. 53.
Six Sonates pour le Clavecin à l'usage
des Dames, 1770 ("Damen" sonatas),
Wq. 54.
Six collections of Clavier Sonaten für
Kenner und Liebhaber, 1779–87 ("Kenner
 und Liebhaber" sonatas), Wq. 55–59, 61.

Much of Bach's energy during his last

years was dedicated to the publication of
the "Kenner und Liebhaber" collections
(which also include fantasias and rondos,
see below).[20]

Wq. 64:1–6 are six sonatinas for keyboard,

and Wq. 65:1–50 are fifty further keyboard
sonatas. The Sonata in E flat major,
Wq. 65:7, is based on Solo per il cembalo,
BWV Anh. III 129, No. 27 in the second
Notebook for Anna Magdalena Bach.[21]
Other keyboard works

Easily Bach's best-known piece is the

Solfeggietto, Wq. 117/2, to the point that
the introduction to The Essential C.P.E.
Bach is subtitled "Beyond the Solfeggio in
C Minor".[22] Several of Bach's other
miscellaneous keyboard works have
gained fame, including the character piece
La Caroline and the Fantasia in F-sharp
minor, Wq. 67. Bach's fantasias, in
particular, have been considered to show
him at his most characteristic: they are full
of dramatic silences, harmonic surprises,
and perpetually varied figuration.
Bach published three major collections of
miscellaneous keyboard works during his
lifetime: the Clavierstücke verschiedener
Art, Wq. 112 of 1765, and the Kurze und
Leichte Clavierstücke collections, Wq.
113–14 of 1766. The former includes
songs, fantasias, dances, sonatas, fugues,
and even a symphony and concerto for
solo piano (Bach was later to publish an
entire collection of keyboard versions of
his symphonies).

Bach also wrote a set of six organ sonatas

for the organ of Frederick the Great's sister
Anna Amalia.
Music for mechanical instruments
Stücke für Spieluhren auch Drehorgeln
(i.e. pieces for music boxes and barrel
organs)
Tune for musical clock in D Major, Wq.
193/02

Tune for musical clock in C Minor, Wq.

193/04

Tune for musical clock in E Major, Wq.

193/06

Tune for musical clock in B Major, Wq.

193/08
 Tune for musical clock, Wq. 193/11

Tune for music box, Wq. 193/12

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Mechanical instruments such as the

music box and musical clock were popular
at the Prussian court, and C. P. E. Bach
wrote thirty original compositions for
these instruments, grouped together as
Wq. 193.[23][24] At that time, Bach was
court musician to King Frederick the Great
at Potsdam; the King, who was intrigued
by mechanically reproduced music, had
mechanical organ clocks built for the City
Castle of Potsdam and for the New
Palais.[25]

Choral works

Throughout his lifetime, Bach worked on

the Magnificat in D, Wq. 215. J. S. Bach
was alive to hear it in 1749, and C. P. E.
continued to revise and perform it as late
as 1786. The work clearly shows the
influence of J.S. Bach's own Magnificat,
including the striking resemblance of the
Deposuit movements in both works.

His other important choral works include

the Heilig (German Sanctus), Wq. 217,
which he performed together with the
Credo from his Father's Mass in B minor,
the oratorios Die Israeliten in der Wüste,
Wq. 238 and Die Auferstehung und
Himmelfahrt Jesu, Wq. 240, and 21
Passions.

Unpublished works
Many of C.P.E. Bach's compositions and
original manuscripts were stored in the
archive of the Sing-Akademie zu Berlin
where Bach lived 1738-68. This archive
was packed during the Second World War
and hidden to preserve it from Allied
bombing, captured and sequestered by
USSR forces in 1945, thus long believed
lost or destroyed during the war.

The archive was discovered in Kiev,

Ukraine, in 1999, returned to Berlin in 2001,
and deposited in the Staatsbibliothek. It
contained 5,100 musical compositions,
none ever printed for the public, including
500 by 12 different members of the Bach
family. [26]

Legacy and musical style

Through the later half of the 18th century,
the reputation of Carl Philipp Emanuel
Bach stood very high,[1] surpassing that of
his father.[9] Haydn and Beethoven
admired him and "avidly" collected his
music.[9] Mozart said of him, "Bach is the
father, we are the children."[1][29]

His work is full of invention and, most

importantly, extreme unpredictability, and
wide emotional range even within a single
work, a style that may be categorized as
empfindsamer Stil. It is no less sincere in
thought than polished and felicitous in
phrase.[1] His keyboard sonatas, for
example, mark an important epoch in the
history of musical form.[1] Lucid in style,
delicate and tender in expression, they are
even more notable for the freedom and
variety of their structural design; they
break away altogether from both the
Italian and the Viennese schools, moving
instead toward the cyclical and
improvisatory forms that would become
common several generations later.[1]

He was probably the first composer of

eminence who made free use of harmonic
color for its own sake.[1] In this way, he
compares well with the most important
representatives of the First Viennese
School.[1] In fact, he exerted enormous
influence on the North German School of
composers, in particular Georg Anton
Benda, Bernhard Joachim Hagen, Ernst
Wilhelm Wolf, Johann Gottfried Müthel,
and Friedrich Wilhelm Rust. His influence
was not limited to his contemporaries and
extended to Felix Mendelssohn and Carl
Maria von Weber.

His name fell into neglect during the 19th

century, with Robert Schumann notoriously
opining that "as a creative musician he
remained very far behind his father";[30]
others opined that he was "a somewhat
feeble imitator of his father's style".[2] All
the same, Johannes Brahms held him in
high regard and edited some of his music.
By the early 20th century, he was better
regarded[1] but the revival of C. P. E. Bach's
works has been chiefly underway since
Helmuth Koch's recordings of his
symphonies and Hugo Ruf's recordings of
his keyboard sonatas in the 1960s. There
is an ongoing project to record his
complete works, led by Miklós Spányi on
the Swedish record label BIS. In 2014, the
Croatian pianist Ana-Marija Markovina, in
cooperation with the Packard Humanities
Institute, the Bach-Archiv Leipzig, the
Sächsische Akademie der Wissenschaften
zu Leipzig and Harvard University released
a 26-CD box set of the complete works for
solo piano on the German record label
Hänssler Classic, performed on a modern
Bösendorfer grand piano.
The works of C. P. E. Bach are known by
"Wq" numbers, from Alfred Wotquenne's
1906 catalogue, and by "H" numbers from
a catalogue by Eugene Helm (1989).

He was portrayed by Wolfgang Liebeneiner

in the 1941 biopic of his brother
Friedemann Bach.

The street Carl-Philipp-Emanuel-Bach-

Straße in Frankfurt (Oder) is named for
him.

In 2015 the Carl Philipp Emanuel Bach

Museum was opened in Hamburg.[31]
Anniversary year 2014

2014 marked the 300th anniversary of Carl

Philipp Emanuel Bach's birth. All six
German Bach cities—Hamburg, Potsdam,
Berlin, Frankfurt-on-the-Oder, Leipzig, and
Weimar—hosted concerts and other
events to commemorate the
anniversary.[32]

References
Notes

1. EB (1911).
2. EB (1878).
3. Ratner (1980).
4. Hubeart, T.L. "A Tribute to Carl Philipp
Emanuel Bach
5. Allison, John. "CPE Bach at 300: why
he's more than just Johann Sebastian's
son ", The Telegraph, 26 January 2014.
6. "Carl Phillip Emanuel Bach "
ClassicalCat.net
7. Thompson (1998) p. 32
8. Percy M. Young, The Bachs, 1500–
1850, p. 167
9. Dammann, Guy (24 February 2011),
The Guardian "CPE Bach: like father,
 like son" .
10. Thompson (1998) pp. 30, 56
11. Thompson (1998) p. 37
12. Thompson (1998) pp. 47–48
13. Thompson (1998) p. 98
14. Carl Philipp Emanuel Bach The
Complete Works, Preface:
Symphonies .
15. Complete Works, Vol. III/2, Preface.
16. Complete Works, Vol. III/3, Preface.
17. Richard Crocker, A History of Musical
Style
18. Complete Works, Vol. III/6, Preface.
19. Complete Works, Vol. III/8, Preface.
20. Complete Works, Vol. I/4, Preface.
21. Bach Digital Work 1440
22. "Contents of The Essential C.P.E.
Bach ". Via archive.org.
23. "Cramer and Sturm Songs" in
Complete Works, ser. VI, v. 2., p. xxiii
(Packard Humanities Institute, 2009).
24. Shepherd, John. Continuum
Encyclopedia of Popular Music of the
World , Vol. II, p. 325 (A&C Black,
2003).
25. Altman, Ludvig. "A well-tempered
musician's unfinished journey through
life: oral history transcript ", UC
Berkeley, 1990, 125b. Via archive.org.
26. https://www.degruyter.com/view/prod
uct/34549 ,
https://www.ucis.pitt.edu/nceeer/2003
_816_03_Grimsted.pdf
27. Rochlitz 1824–1832, pp. 308 ff.
28. Ottenberg (1987), p. 98 & 191.
29. Rochlitz,[27] quoted in Ottenberg.[28]
30. Hubeart Jr., T. L. (14 July 2006). A
Tribute to C. P. E. Bach . Retrieved on
17 May 2008
 31. Stadt Hamburg, CPE Bach-Museum
32. www.cpebach.de , Official Anniversary
Website for Carl Philipp Emanuel
Bach.

Sources

Carl Philipp Emanuel Bach: The Complete

Works, a complete edition of his music,
has been in progress since 2005 and is
somewhat more than halfway finished
as of 2014.
 Baynes, T.S., ed. (1878), "Karl Philipp
Emmanuel Bach"  , Encyclopædia
Britannica, 3 (9th ed.), New York: Charles
Scribner's Sons, p. 196
Ratner, Leonard G. (1980), Classic Music:
Expression, Form and Style, New York:
Schirmer
Rochlitz, Friedrich (1824–1832), Für
Freunde der Tonkunst (in German), 4
vols., Leipzig
Thompson, Alton (1998). Formal
Coherence in Emanuel Bach's
Auferstehung (DMA thesis). Peabody
Institute of Johns Hopkins University.
Ottenberg, Hans-Günter (1987), Carl
Philipp Emanuel Bach, translated by
 Whitmore, Philip J., OUP, ISBN 0-19-
315246-0.

Attribution

 This article incorporates text from a

publication now in the public
domain: Hadow, William Henry (1911),
"Bach, Karl Philipp Emanuel", in
Chisholm, Hugh (ed.), Encyclopædia
Britannica, 3 (11th ed.), Cambridge
University Press, pp. 130–131

Further reading
The New Grove Dictionary of Music and
Musicians (2001) contains a biography
and list of his compositions.
Oleskiewicz, Mary, ed. J.S. Bach and His
Sons, vol. 11 of Bach Perspectives,
Illinois University Press, 2017. See also
the Web Companion , which shows
images of historical keyboards he played,
and places where C.P.E. Bach performed,
at the Prussian Court.
Oleskiewicz, Mary. “Carl Philipp Emanuel
Bach and the Flute” Flutist Quarterly
39/no. 4 (Summer 2014): 20–30.
Oleskiewicz, Mary. “Like Father, Like
Son? Emanuel Bach and the Writing of
Biography,” in Music and Its Questions:
 Essays in Honor of Peter Williams,
edited by Thomas Donahue (Richmond,
Va.: Organ Historical Society Press,
2007), 253–79.
Schulenberg, David. The Music of Carl
Philipp Emanuel Bach (Rochester:
University of Rochester Press, 2014).
Schulenberg, David. Chronological list of
all of C.P.E. Bach's Works

External links

Wikimedia Commons has media

related to Carl Philipp Emanuel Bach.
Wikiquote has quotations related to:
Carl Philipp Emanuel Bach

Carl Philipp Emanuel Bach at the

Encyclopædia Britannica
Free scores by Carl Philipp Emanual
Bach at the International Music Score
Library Project (IMSLP)
Performances of some works at
Musopen
A Tribute to Carl Philipp Emanuel Bach ,
sketch of the composer's life with
extensive references
Complete Catalogue of C. P. E. Bach's
oeuvre (French)
Website of the edition Carl Philipp
Emanuel Bach: The Complete Works
Finding the Lost Manuscripts of C.P.E.
Bach at the Wayback Machine
(archived 16 July 2008) Greater Boston
Arts
 "Bach, Karl Philipp Emanuel"  . New
International Encyclopedia. 1905.
Carl Philipp Emanuel Bach – The
Complete Works , Packard Humanities
Institute, published for the 300th
anniversary year, 2014
Ensayo sobre la verdadera manera de
tocar el teclado, spanish version of the
Versuch (Eva Martínez Marín ed.), Ed.
Dairea, Galapagar, Madrid, Spain, 2017
Free scores by Carl Philipp Emanuel
Bach in the Choral Public Domain
Library (ChoralWiki)
Trio sonata in C minor, H. 579 , first
edition, Sibley Music Library
Fantasia e fuga in C minor, H. 75.5 , for
keyboard instrument, Sibley Music
Library
"Hamburger Sonata Wq. 133" on
YouTube, played by Eckhart Duo
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