Artist Name

Carl Philipp Emanuel Bach

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2012 - Empfindsamkeit! Symphonies & Concertos

1995 - C. P. E. Bach: Sinfonias, Wq. 183, Nos. 1-4 / W. F. Bach: Si

1995 - Hamburg Concertos

1995 - The Complete Keyboard Concertos, Volume 1
missing

1994 - Concerto pour Flûte / Concerto pour Violoncelle (feat condu

1994 - Five Piano Trios (Trio 1790)

1994 - Berühmte Orgelwerke des Barock (Famous Baroque Organ Pieces

1993 - Cello Concertos

1993 - Prussian Sonatas / Württemberg Sonatas (harpsichord: Bob va
missing

1993 - Les Sonates prussiennes (harpsichord: Aline Zylberajch)

1992 - C.P.E. Bach: Oboe Concertos / Oboe Sonata / Marcello: Oboe c

1992 - Die Israeliten in der Wüste (Corona & Cappella Coloniensis
missing

1992 - Die Auferstehung und Himmelfahrt Jesu (Orchestra of the Age

1992 - 3 Quartets / Fantasy in C major (feat. flute: Nicholas McGeg

1991 - Oboe Concertos
missing

1990 - Concerti: Wq 46 / Wq 23 / Wq 165 (Collegium Aureum feat. con

1990 - Hamburger Sinfonien, Wq 182, 3 & 4 & 5 / Concerti, Wq 165 &

1989 - Cello Concertos (Orchestra of the Age of Enlightenment feat.
missing

1989 - Harpsicord Concertos

1989 - 6 Hamburg Symphonies (Camerata Bern feat. conductor: Thomas
missing

1987 - Gamben Sonaten (feat. viola da gamba: Siegfried Pank)

1983 - Trio Sonatas

1981 - 6 Sonaten und 6 Sonatinen

Members
1 Male

Origin
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Deutchland

Genre
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Composer

Style
Classical

Mood
---

Born

1714

Active
--- 1788

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Artist Biography
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Carl Philipp Emanuel Bach (8 March 1714 - 14 December 1788) - more commonly known as C.P.E. Bach - was a German musician and composer of the early Classical period. The second of eleven sons of Johann Sebastian Bach and Maria Barbara Bach, C.P.E. Bach was born in Weimar on 8th March 1714. He was one of the founders of the Classical style, composing in the rococo and classical periods. Through the latter half of the eighteenth century, his reputation was very high. This was mainly because of his clavier sonatas, which marked an important development in the history of musical form. 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 the exact formal antithesis which, with the composers of the italian school, had hardened into convention, and substitute the wider and more flexible outline which the great viennese masters showed to be capable of almost infinite development.