C.P.E. Bach V: The Essential C.P.E. Bach

Checking back in on the C.P.E. Bach Tricentennial, thought I’d share what the folks putting together the new Complete Works edition have deemed The Essential C.P.E. Bach : “a selection of the composer’s 25 ‘greatest hits’ of solo keyboard, chamber, and orchestral music.”

 
Contents of The Essential C.P.E. Bach

 

It’s a fascinating (and to my mind, rather obscure) list, containing several works which are utterly new to me, and will take a little further investigation. There are also a few “usual suspects,” like the Magnificat (previously discussed in this space), and some of the symphonies that get frequent spins in classical-radio-land.  Like the first of the so-called “Hamburg” Symphonies, played below in terrific recording by Andrew Manze and the English Concert.

Want to know more about the symphony?  You can read the Musical Musings entry here.

C.P.E. Bach IV: Magnificat

One of the pieces by Carl Philipp Emmanuel that has never fallen out of favor in his native Germany is his Magnificat in D Major, a work that perhaps deliberately shares the same name – and even key signature – as one of J.S. Bach’s most famous choral works. It was composed in 1749, just a year before the death of Bach the father.

And there is some supposition that the C.P.E. wrote this expansive work originally as an audition piece to succeed J.S. as the Cantor of St. Thomas Church in Leipzig.   “Originally,” that is, because despite writing this Magnificat at an early age C.P.E. Bach revived this piece on several occasions during his career…and, like his father, recycled a lot of the movements into other sacred works of his.

Regardless, it stands as one of C.P.E. Bach’s greatest works – with many touches that suggest that the son learned well from his father…starting with the sound of the joyous natural trumpets at the opening of the piece. But you’ll also hear suggestions of the great choral works yet to come by Haydn and Mozart.  And how’s this for a little piece of history, courtesy of music scholar Jason B. Grant, who happens to be working on publishing the complete works of C.P.E. Bach this tricentennial year:

That C.P.E. Bach thought highly of his Magnificat is shown by his including it in a concert of 1786, a program which included the Credo of his father’s B Minor Mass, portions of Handel’s Messiah, and his own double-choir “Heilig.” Although it was a work from much earlier in his career, Bach clearly valued the Magnificat as a composition that could stand alongside not only his later Hamburg works, but also the great choral masterpieces of the previous generation

Check out these three sections in a very spirited performance by Czech-based Visegrad Baroque Orchestra, (“Barbara Maria Willi founded in 2006 Visegrad Baroque Orchestra in order to engage in collaborative work most talented musicians in Visegrad countries: Hungary, Poland, Slovakia and Czech Republic”) and the Ars Brunensis Chorus,