Sonatas Wq 71-74 BWV 1036 Violinsonaten nach den Trios Wq 143-147-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 alsothe 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].

Carl Philipp Emanuel Bach was a German musician and composer the second of three sons of Johann Sebastian Bach and Maria Barbara Bach. He was a crucial composer during the transition between the Baroque and Classical periods.  Carl Philipp Emanuel Bach's Piano Works contains six sonatas and rondo from the collections of 'Kenner und Liebhaber'.

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]. / Violon Et Harpe (Ou Piano)

Il ya un certain nombre de précédents très connu à l'idée de jouer Bach avec une sensation de jazz. Mike Cornick dans ce volume s'est propagé sur le net un peu plus large et a inclus des exemples de Haendel, Couperin, Petzold, et Carl Philipp Emanuel Bach ainsi que de JS Bach lui-même.Plusieurs approches différentes ont été adoptées dans les arrangements. Les morceaux plus faciles, beaucoup prise du Clavierbüchlein der Anna Magdalena Bach, sont adaptés au style du latin ou Swing, deux Bach Sarabandes (à partir de Suite française n o 1 et la Suite anglaise n o 2) à la fois conserver leurs sections 'A' original, tout en les sections 'B' ont été subtilement remplacé avec de beaux solos de jazz. Haendel L'Harmonieux forgeron offre de surprise en surprise avec cinq certainement de nouvelles variantes en place des originaux! Ce volume de pièces apportera un énorme plaisir pour les joueurs de grades 3-6 et vers le haut ainsi que pour leur public. / Piano

Based on Johann Sebastian Bach. First edition-In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).When Johann Sebastian Bach created his six-part corpus of harpsichord concertos in 1738 (BWV 1052-1057) he gave pride of place to the Concerto in D minor BWV 1052. It has long been thought for good reasons that this piece was based on a lost violin concerto in the same key that he had already transcribed on twoprevious occasions.The second 'forerunner' of BWV 1052 is the present harpsichord concerto. It was first published by Wilhelm Rust in volume 17 of the old Bach Society Gesamtausgabe (1869) and given the number BWV 1052a in the Schmieder catalogue. Rust felt that Johann Sebastian Bach himself wrote out the principal source a set of orchestral parts preserved in the Berlin Staatsbibliothek under the shelf mark Mus. ms. St 350 and therefore treated the piece as an authentic early version of BWV 1052. Today however we know that the scribe was Carl Philipp Emanuel Bach who is generally also regarded as the work's author.Urtext of the New Bach EditionParts (BA5231) two-keyboard reduction (BA5231-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).When Johann Sebastian Bach created his six-part corpus of harpsichord concertos in 1738 (BWV 1052-1057) he gave pride of place to the Concerto in D minor BWV 1052. It has long been thought for good reasons that this piece was based on a lost violin concerto in the same key that he had already transcribed on twoprevious occasions.The second 'forerunner' of BWV 1052 is the present harpsichord concerto. It was first published by Wilhelm Rust in volume 17 of the old Bach Society Gesamtausgabe (1869) and given the number BWV 1052a in the Schmieder catalogue. Rust felt that Johann Sebastian Bach himself wrote out the principal source a set of orchestral parts preserved in the Berlin Staatsbibliothek under the shelf mark Mus. ms. St 350 and therefore treated the piece as an authentic early version of BWV 1052. Today however we know that the scribe was Carl Philipp Emanuel Bach who is generally also regarded as the work's author.Urtext of the New Bach EditionParts (BA5231) two-keyboard reduction (BA5231-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

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 originallywritten 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.

Carl Philipp Emanuel Bach wrote his first great vocal composition the Magnificat in 1749 at the age of 35. It bears all the earmarks of “audition music” i.e. a piece that organists and choir directors had to submit when applying for a new position. This feature is especially evident in its stylistic variety which makes the work a rewarding and colorful challenge for all church choirs. Special attractions are the work's contrapuntal passages which are very similiar in sound and structure to those of J. S. Bach’s B minor Mass. The present arrangement for soloists chorus and organ is intended as a self contained version accessible to a widerange of choirs even those with limited financial means. - Self contained version for soloists (SATB) chorus (SATB) and organ - Ideal for use in church and concert hall - Clear and well presented organ part - Duration: ca. 40 minutes The Bärenreiter CHOIR&ORGAN Series presents great choral works in arrangements for soloists choir and organ; no orchestra is needed. The original orchestral parts have been transcribed into straight-forward organ reductions whereby the contemporary tradition of such arrangements has been taken into consideration. In some cases the original organ version by the composer has been used. The Organ parts are presented on three staves. The choir and solo parts always remain true to the original. One edition can be used by soloists singers and Organist alike.

Bach, Gottlieb Friedrich (Illustr.) - Bach, Carl Philipp Emanuel (Trad.) -/ Répertoire / Carte Postale

Music Minus One Cello-A beautiful baroque concerto for violoncello by Carl Philipp Emanuel Bach youngest son of J.S. Bach. We can't recommend this gorgeous work enough - filled with beautiful opportunities for the soloist and a magnificent accompaniment. No baroque enthusiast will want to miss out on this rewarding work. Includes a high-quality printed music score and a compact disc containing a complete performance with soloist then a second version with the orchestral accompaniment minus you the soloist. Performed by Marcy Chanteaux violoncello Accompaniment: Stuttgart Festival Orchestra

Sonata in a minor Wq 132 for Flute Solo-There are many unanswered questions surrounding Carl Philipp Emanuel Bach's Flute Sonata A Minor Wq. 132. For whom was this solo work written? The addressee of the sonata is frequently thoughtto be King Friedrich II of Prussia yet Bach would not have made music that was exclusively intended for the king available for all. The intrigue is heightened by the fact that this sonata for Flute solo was published twice in the1760s.The riddle is not to be solved. Today this three-movement work is one of the solo pieces that all flautists have to have played once it is truly regal music. This Henle Urtext edition features informedcomments on performance practice by the flautist Karl Kaiser.

A highly authoritative Urtext edition of Carl Philipp Emanuel Bach's Piano Sonatas as edited by Darrell M. Berg and Klaus Borner. Available here is the third volume of piano sonatas.Contents:Sonata C major Wq 51 1( Level of difficulty: 6 ) Sonata (First Edition) C major Wq 65 35 ( Level of difficulty: 4/5 ) Sonata (First Edition) C major Wq 65 36 ( Level of difficulty: 5 ) Sonata A major Wq 65 37 ( Level of difficulty: 5/6 )Sonata D major Wq 65 40 ( Level of difficulty: 5 ) Sonata C major Wq 65 41 ( Level of difficulty: 5 ) Sonata E flat major Wq 65 42 ( Level of difficulty: 5 ) Sonata B flat major Wq 65 44 ( Level of difficulty: 5/6) Hamburg Sonata F major Wq 62 24 ( Level of difficulty: 5 ) Sonata (First Edition) [Hamburg Sonata] C major Wq 65 47 ( Level of difficulty: 4/5 ) Sonata (Hamburg sonata) G major Wq 65 48 ( Level of difficulty: 4 )Appendix: Larghetto (originally second movement of the Sonata No. 31) E flat major ( Level of difficulty: 3 )

The music of Carl Philipp Emanuel Bach unlike that of his famous father Johann Sebastian or that of the master he influenced Haydn did not define an era so much as reveal a deeply personal response to the musical conventions of his time. The three movements of this Sonata in A Minor for unaccompanied flute - the only one he wrote for 'flute alone' - may be played either in the order written or in the order II-I-III for a more balanced work.