Scores of Works by C. P.E. Bach

My work has led me to create scores for many works by C. P. E. Bach. Some were meant for performance, others for study. Most of the scores listed below are based on primary sources (identified within the score), and several include a textual commentary of some sort, but only the four concertos W. 4, 5, 6, and 24 are accompanied by a complete critical apparatus.

All scores are pdf files, created from files prepared in Finale. Most works are listed by W (Wotquenne) number, followed by works known only by H (Helm) number. A few works lacking both W and H numbers come at the beginning, and two doubtful or spurious works of special interest fall at the end.

March in E-flat for four unspecified instruments (trumpet, two oboes, and bassoon?) from the autograph manuscript Berlin, Staatsbibliothek, St 460 (for further wind band music, see W. 185 and 187 below) (audio file here)

Courante (?) from an early Suite or Sonata in G for keyboard: my reconstruction of a fragmentary movement published in CPEBCW, vol. 1/8.2, no. 68 (audio file here)

W. 4, 5, and 6: critical editions of keyboard concertos in G, C minor, and G minor

W. 23: Concerto in D minor for keyboard and strings (recording here)
Poco andante
Allegro assai (including a few variations from a manuscript copy that belonged to Sara Levy)

W. 24: Concerto in E minor for keyboard and strings
critical edition (scores of early and late versions together)
recording of the early version

W. 49/1: Württemberg Sonata no. 1 in A minor (recording here)

W. 49/6: Württemberg Sonata no. 6 in B minor, with the composer’s later variations for the first two movements (audio file here) (recording here)

W. 51/1: a sonata in C that was “afterwards twice completely varied” as W. 65/35 and W. 65/36 (all three sonatas edited together; further information here) (recording here)

W. 52/4: Sonata in F-sharp minor (recording here)

W. 52/6: Sonata in E minor (recording here)

W. 65/7: Sonata in E-flat (early and “renovated” versions edited together; further information here)  (recording here)

W. 65/47: Sonata in C (recording here)

W. 116/23: Andantino in C, the basis of 118/10 (see below) (recording here)

W. 118/10: Variations with Varied Reprises (recording here)

W. 161/1: Trio Sonata in C minor (the Program Trio), “Conversation Between Melancholicus and Sanguineus,” version for violin and obbligato keyboard (links to recording within file)

W. 185: Six Marches for winds in seven parts (two horns, two oboes, two clarinets, and bassoon) (click here for audio file)

W. 187: Two Marches for winds in five parts (two horns, two oboes, and bassoon) (click here for audio file)

W. 199/4: “Die Küsse.” After its publication in 1753, this song was the subject of a lengthy critique by Bach’s Berlin court colleague Christoph Nichelmann, who published what he considered to be a corrected version in his book Die Melodie, nach ihrem Wesen sowohl, als nach ihren Eigenschaften (Danzig, 1755). Bach ignored this but entered his own manuscript revisions into a copy of a 1774 edition of the original song. All three versions are shown in this score (click here for audio of Nichelmann’s version)

H. 763: Two songs on poems by Hagedorn (“Die Alster” and “Harvestehude”), lost until recently (click here for audio file)

Sinfonia in G for strings, attributed in the sole source to C. P. E. Bach and identified by one commentator as the work he is supposed to have composed jointly with Ferdinand von Lobokovitz, each composing one measure at a time, in alternation (click here for audio file)

Carl Wilhelm Glösch (1731/2–1809), Flute Sonata in F minor (misattributed to C. P. E. Bach; see CPEBCW, 2/1:xxi) (audio file here)