|
|
| Line 1: |
Line 1: |
| − | '''Carl Philipp Emanuel Bach''' ([[March 8]], [[1714]] – [[December 14]], [[1788]]) was a [[Germany|German]] musician and composer, the second of five sons of [[Johann Sebastian Bach]] and [[Maria Barbara Bach]]. He was one of the founders of the [[Classical music era|Classical]] style, composing in the [[Rococo (music)|Rococo]] and Classical periods.
| |
| | | | |
| − | ==Life and works==
| |
| − | Carl Philipp Emanuel Bach was born in [[Weimar]].
| |
| − |
| |
| − | When he was ten years old he entered the St. Thomas School at [[Leipzig]], of which in [[1723]] his father had become [[Cantor (church)|cantor]], and continued his education as a student of [[jurisprudence]] at the universities of Leipzig ([[1731]]) and of [[Frankfurt (Oder)]] (1735). In 1738, at the age of 24, he took his degree, but at once abandoned his prospects of a legal career and determined to devote himself to music.
| |
| − |
| |
| − | A few months later he obtained an appointment in the service of the [[Frederick II of Prussia]] ("Frederick the Great"), the then [[crown prince]], and upon Frederick's accession in [[1740]] Carl Philipp became a member of the royal household.<!--or the royal court?—> He was by this time one of the foremost [[keyboard instrument|clavier]]-players in Europe, and his compositions, which date from [[1731]], include about thirty [[sonata (music)|sonatas]] and concert pieces for his favourite instrument. <!--what instrument??—>
| |
| − |
| |
| − | His reputation was established by the two sets of sonatas which he dedicated respectively to Frederick the Great and to the grand duke of [[Württemberg]]; in [[1746]] he was promoted to the post of chamber musician, and for twenty-two years shared with [[Carl Heinrich Graun]], [[Johann Joachim Quantz]], and [[Johann Gottlieb Naumann]] the continued favour of the king.
| |
| − |
| |
| − | During his residence in [[Berlin]], he wrote a fine setting of the [[Magnificat]] (1749), in which he shows more traces than usual of his father's influence; an [[Easter]] [[cantata]] (1756); several [[symphony|symphonies]] and concerted works; at least three volumes of songs; and a few secular cantatas and other occasional pieces. 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'' ([[1760]]-[[1768]]) and a few of those ''für Kenner und Liebhaber''. Meanwhile he placed himself in the forefront of European critics by his ''Versuch über die wahre Art das Clavier zu spielen'', a systematic and masterly treatise which by [[1780]] had reached its third edition, and which laid the foundation for the methods of [[Muzio Clementi]] and [[Johann Baptist Cramer]].
| |
| − |
| |
| − | In [[1768]] Bach succeeded [[Georg Philipp Telemann]] as ''[[Kapellmeister]]'' at [[Hamburg]], and in consequence of his new office began to turn his attention more towards church music. The next year he produced his [[oratorio]] ''Die Israeliten in der Wüste'', a composition remarkable not only for its great beauty but for the resemblance of its plan to that of [[Felix Mendelssohn]]'s ''[[Elijah (oratorio)|Elijah]]'', and between [[1769]] and [[1788]] added over twenty settings of [[the Passion]], and some seventy cantatas, [[litany|litanies]], [[motet]]s, and other liturgical pieces. At the same time, his genius for instrumental composition was further stimulated by the career of [[Joseph Haydn]]. He died in Hamburg on [[December 14]], [[1788]].
| |
| − |
| |
| − | ==Legacy and musical style==
| |
| − | Through the latter half of the [[18th century]], the reputation of C.P.E. Bach stood very high. [[Wolfgang Amadeus Mozart]], who also had a close relationship with [[Johann Christian Bach]] said of Carl Philipp, "He is the father, we are the children." The best part of Haydn's training was derived from a study of his work. [[Ludwig van Beethoven]] expressed for his genius the most cordial admiration and regard. This position he owes mainly to his ''klaviersonaten'' (piano sonatas), which mark an important epoch 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 [[Italy|Italian]] school, had hardened into a convention, and substitute the wider and more flexible outline which the great [[Vienna|Viennese]] masters showed to be capable of almost infinite development.
| |
| − |
| |
| − | The content of his work, though full of invention, lies within a somewhat narrow emotional range, but it is not less sincere in thought than polished and felicitous in phrase. Again, he was probably the first composer of eminence who made free use of harmonic colour for its own sake since the time of [[Orlando di Lasso|Lassus]], [[Claudio Monteverdi|Monteverdi]], and [[Carlo Gesualdo|Gesualdo]],{{fact}} and in this way also he takes rank among the most important pioneers of the [[First Viennese School]]. His name fell into some neglect during the [[19th century]], with [[Robert Schumann]] notoriously opining that "as a creative musician he remained very far behind his father"; in contrast, [[Johannes Brahms]] held Emanuel Bach in high regard and edited some of his music. Today, students very frequently play Emanuel's ''Sonaten für Kenner und Liebhaber'', his oratorios ''Die Israeliten in der Wüste'' and ''Die Auferstehung und Himmelfahrt Jesu,'' and several [[harpsichord concerto]]s such as those in G major (Wq. 3) and D major (Wq. 11). Also, his Flute Concerto in D Minor (Wq. 22), due to its unparalleled mellifluous opening movement, has been performed by the greatest flautists worldwide, including [[Jean-Pierre Rampal]]. Rampal's recording is sadly out of print as of 2006, it features the Paris Opera orchestra conducted by [[Pierre Boulez]] and was published by Harmonia Mundi, HMP 390545.
| |
| − |
| |
| − | ==Further reading==
| |
| − | A list and critical account of his voluminous compositions may be found in the ''[[New Grove Dictionary of Music and Musicians]] ''(1980). A complete edition entitled ''[[Carl Philipp Emanuel Bach: The Complete Works]]'' is underway and scheduled to be completed by [[2014]].
| |
| − |
| |
| − | ==References==
| |
| − | *{{1911}}
| |
| − |
| |
| − | ==External links==
| |
| − | *[http://members.aol.com/basfawlty/cpe_bach.htm A Tribute to Carl Philipp Emanuel Bach] - Sketch of the composer's life with extensive references.
| |
| − | *[http://infopuq.uquebec.ca/~uss1010/catal/baccp/baccp.html#Inst1 Complete Catalogue] of C.P.E. Bach's oeuvre (French)
| |
| − | *[http://www.carolinaclassical.com/cpebach/index.html Carl Philipp Emanuel Bach (1714-1788)]
| |
| − | *{{IckingArchive|idx=C.P.E.Bach|name=Carl Philipp Emanuel Bach}}
| |
| − | *[http://www.cpebach.org/ Website of the edition ''Carl Philipp Emanuel Bach: The Complete Works.'']
| |
| − | *[http://www.wgbh.org/pages/bostonarts/2001/bach_manuscripts.html Finding the Lost Manuscripts of C.P.E. Bach] ''Greater Boston Arts''
| |
| − | *Free Public Domain Scores by C.P.E. at [http://www.imslp.org/index.php?title=Category:Bach%2C_Carl_Philipp_Emanuel IMSLP]
| |
| − |
| |
| − | <!-- Metadata: see [[Wikipedia:Persondata]] —>
| |
| − |
| |
| − | {{Persondata
| |
| − | |NAME=Bach, Carl Philipp Emanuel
| |
| − | |ALTERNATIVE NAMES=Bach, Karl Philipp Emanuel (older German spelling)
| |
| − | |SHORT DESCRIPTION=Classical composer
| |
| − | |DATE OF BIRTH=[[March 8]], [[1714]]
| |
| − | |PLACE OF BIRTH=[[Weimar]], [[Thuringia]], [[Germany]]
| |
| − | |DATE OF DEATH=[[December 14]], [[1788]]
| |
| − | |PLACE OF DEATH=[[Hamburg]], [[Germany]]
| |
| − | }}
| |
| − |
| |
| − | [[Category:Bach family|Bach, Carl Philipp Emanuel]]
| |
| − | [[Category:Classical era composers|Bach, Carl Philipp Emanuel]]
| |
| − | [[Category:German composers|Bach, Carl Philipp Emanuel]]
| |
| − | [[Category:Harpsichordists|Bach, Carl Philipp Emanuel]]
| |
| − | [[Category:German classical pianists|Bach, Carl Philipp Emanuel]]
| |
| − | [[Category:natives of Weimar|Bach, Carl Philipp Emanuel]]
| |
| − | [[Category:German Lutherans|Bach, Carl Philipp Emanuel]]
| |
| − | [[Category:1714 births|Bach, Carl Philipp Emanuel]]
| |
| − | [[Category:1788 deaths|Bach, Carl Philipp Emanuel]]
| |
| − |
| |
| − | [[bs:Carl Philipp Emanuel Bach]]
| |
| − | [[ca:Carl Philipp Emanuel Bach]]
| |
| − | [[da:Carl Philipp Emanuel Bach]]
| |
| − | [[de:Carl Philipp Emanuel Bach]]
| |
| − | [[es:Carl Philipp Emanuel Bach]]
| |
| − | [[eo:Carl Philipp Emanuel Bach]]
| |
| − | [[fa:کارل فیلیپ امانوئل باخ]]
| |
| − | [[fr:Carl Philipp Emanuel Bach]]
| |
| − | [[hr:Carl Philipp Emanuel Bach]]
| |
| − | [[is:Carl Philipp Emanuel Bach]]
| |
| − | [[it:Carl Philipp Emanuel Bach]]
| |
| − | [[he:קרל פיליפ עמנואל באך]]
| |
| − | [[hu:Carl Philipp Emanuel Bach]]
| |
| − | [[nl:Carl Philipp Emanuel Bach]]
| |
| − | [[ja:カール・フィリップ・エマヌエル・バッハ]]
| |
| − | [[no:Carl Philipp Emanuel Bach]]
| |
| − | [[nds:Carl Philipp Emanuel Bach]]
| |
| − | [[pl:Carl Philipp Emanuel Bach]]
| |
| − | [[pt:Carl Philipp Emanuel Bach]]
| |
| − | [[fi:Carl Philipp Emanuel Bach]]
| |
| − | [[sv:Carl Philipp Emanuel Bach]]
| |
| − | [[zh:卡尔·菲利普·埃曼努埃尔·巴赫]]
| |
