The Music of C. P. E. Bach: Supplementary Text and Tables

Listed below are supplements to the text of my book The Music of Carl Philipp Emanuel Bach (University of Rochester Press). Clicking on the links (the double number, e.g., “1.1”) will take you to the supplements themselves. Entries that consist chiefly of tables or lists are signified below by the word “table”; many of these include additional matter as well.

For technical reasons, each entry is in the form of a pdf file that includes all the musical examples referred to within the entry. Clicking on the captions of the examples will bring you to synthesized audio versions. (You may need to download the pdf files or the audio files in order to access them, depending on your browser. If the links to the audio files do not work, you may need to copy the url for each example from the pdf file into your browser and open each audio file from the latter.)

1.1. An outline of Bach’s works (table)
1.2. Some Practical Matters: Work Lists, Sources, Editions, Performance
1.3. Works that were known in nineteenth- and early twentieth-century editions
1.4. “Dark” sentiments
1.5. “Empfindsamkeit”
2.1. Non-musical aspects of Emanuel’s upbringing
2.2. Bach and the pedal clavichord
2.3. Bach’s Silbermann clavichord
3.1. Works probably composed at Leipzig (table)
3.2. Three arias W. 211
3.3. The Cantabile from the early E-Minor Suite W. 65/4
3.4. Other early keyboard pieces
3.5. More on the alternate scoring of Bach’s trios
3.6. Problems of origin in the early trios
4.1. Works probably composed at Frankfurt (Oder) (table)
4.2. Speculation on Bach’s activities at Frankfurt
4.3. Problems of chronology and version in early works
4.4. Early works with cadenzas
4.5. Other possible early vocal works
5.1. The Berlin opera
5.2. Bach’s Berlin pupils
5.3. Bach’s works, 1738–52 (table)
5.4. Editorial treatment of Bach’s revisions
6.1. More on the Sixth Württemberg Sonata (W. 49/6)
6.2. Further sonatas of the 1740s
6.3. The sketches for the Oboe Concerto W. 164
6.4. More on Bach’s first concertos
6.5. The Concerto in G, W. 16
7.1 Bach’s output by genre during his Berlin years (table)
7.2. Bach’s publishing projects, 1753–68 (table)
7.3. Some further refinements of accompaniment
7.4. Two sets of little ensemble pieces, W. 81 and 82
7.5. The Zerbst sonatas, the organ sonatas, and other works ca. 1758
7.6. Bach’s keyboard fugues
7.7. Other “little pieces”
7.8. Other parallels with Friedemann’s music
7.9. Other character pieces and their relationship to Couperin
8.1. More on Krause and Bach
8.2. More on Gerstenberg’s experiments
8.3. Nichelmann’s Die Melodie and the response by “Dunkelfeind”
8.4. Musical rhetoric in the Easter Piece W. 244
8.5. Bach’s songs (table)
8.6. Some features of the Gellert Songs
8.7. Issues in Bach’s late songs
9.1. Bach’s output by genre, 1762–88 (table)
9.2. Bach’s lesser trios of the 1750s and 1760s
9.3. More on the 1763 trios for keyboard and violin
9.4. Bach’s ensemble sonatinas: overview (table)
9.5. Bach’s ensemble sonatinas: origins and arrangements (table)
9.6. Individual sonatinas
9.7. Bach’s later Berlin concertos
9.8. The concertos W. 41 and 42
9.9. Individual concertos of W. 43
9.10. Sara Levy and the Double Concerto W. 47
9.11. The later Berlin sinfonias
9.12. Further analysis of the string sinfonias, W. 182
10.1. Bach’s publishing projects 1769–89 (table)
10.2. Further on the keyboard trios
10.3. More on the quartets
10.4. The collections for Kenner und Liebhaber (and related works for keyboard) (table)
10.5. The Miscellanea musica and the pieces for Kenner und Liebhaber
10.6. Two possible miscalculations in the sonatas for Kenner und Liebhaber
10.7. Other late sonatas
10.8. Variations and arrangements
11.1. Church pieces and cantatas: terminology
11.2. Bach’s passions (table)
11.3. Bach’s parody technique
11.4. The inaugural piece for Pastor Hornbostel (table)
11.5. Bach’s Hamburg vocal music (table)
11.6. The aria “Noch steht sie”
11.7. Other vocal works for Hamburg
12.1. Klopstock’s Morgengesang (table)
12.2. The double-chorus Heilig (table)
12.3. The choral fugue “Sicut erat,” no. 9 from the Magnificat, W. 215, and its parody “Herr, es ist dir keiner gleich,” no. 8 from the Easter Music for 1784, W. 243 (table)
12.4. The Two Litanies (table)
12.5. The Resurrection Cantata (table)