A Tribute to C.P.E. Bach (original) (raw)
[1] Cf. Hans T. David & Arthur Mendel, eds., The Bach Reader, 2nd edition, NY: Norton, 1966, p. 31.� (In the revision of this work by Christoph Wolff, The New Bach Reader [NY: Norton, 1998], the relevant passage is on p. 15.)
[2] "Wilhelm Friedemann Bach," in Christoph Wolff, et. al.,The New Grove Bach Family, NY: Norton, 1983, p. 243 (see also the work list on pp. 247-50 for Friedemann�s borrowings).
[3] Ernest Warburton, "Johann Christian Bach," in New Grove, p. 316.
[4] Philipp Spitta, Johann Sebastian Bach, trans. Clara Bell & J.A. Fuller-Maitland, NY: Dover, 1951 (reprint of 1889 ed.), Vol. 3, pp. 268-9.
[5] David & Mendel, p. 270 (New Bach Reader, pp. 378-9).
[6] Ibid, p. 333 (New Bach Reader, p. 458).
[7] For most of the following biographical data, I am indebted to the biographical essay "Carl Philipp Emanuel Bach" by Eugene Helm, in New Grove, op. cit., pp. 251ff..
[8] Hans-G�nter Ottenberg, _Carl Philipp Emanuel Bach,_trans. Philip J. Whitmore, NY: Oxford UP, 1987, pp. 56-7.
[9] Helm, p. 263.
[10] See David & Mendel, p. 347 (statement by J.N. Forkel; New Bach Reader, pp. 472-3) and "W.F. Bach" in New Grove, p. 244.� Cf. also Forkel�s letter of April 24, 1803 in New Bach Reader, p. 394, regarding how Forkel copied the cantatas BWV 9 and BWV 178 from a manuscript of several J.S. Bach cantatas owned by Friedemann, which was later �sold out of necessity� by the latter and disappeared.
[11] Spitta, Vol. 2, p. 504. Spitta goes on to suggest that the St. Luke Passion (BWV 246) is possibly the remaining, unaccounted-for Passion making up the five listed in the obituary notice on Sebastian by C.P.E. and Sebastian�s pupil J.F. Agricola, but later researchers consider it spurious, although it is in J.S. Bach�s hand. (See "J.S. Bach" in New Grove, p. 134 on this topic; the obituary appears in David & Mendel, pp. 214-24, and New Bach Reader, pp. 295-307.)
[12] David & Mendel, p.270 (New Bach Reader, p. 379).�
[13] Ibid, pp. 270-1 (New Bach Reader, pp. 378-80); "J.S. Bach" in New Grove, pp. 142-3.
[14] Christoph Wolff, "The Kantor, the Kapellmeister, and the Musical Scholar: Remarks on the History and Performance of Bach�s Mass in B minor," liner notes to ARCHIV 415 514-1 (BWV 232 performed by John Eliot Gardiner, 1985), p. 7; see also Ottenberg, p. 117.
[15] Given in David & Mendel, pp. 280-8 (New Bach Reader, pp. 400-409); this publication is uncertain in identifying the author of this defense as Emanuel, but the identification is corroborated in "J.S. Bach" in New Grove, pp. 168-9, and by Ottenberg, p. 182.� The defense was first credited to Emanuel by Dragan Plamenac on the basis of similarities between it and a letter Emanuel wrote to J.J. Eschenburg on January 21, 1786; see Stephen L. Clark, trans. & ed., The Letters of C.P.E. Bach, NY: Oxford UP, 1997, p. 243-4 (Letter 287) and note 1 to p. 243.��
[16] Pamela Fox, �The Stylistic Anomalies of C.P.E. Bach�s Nonconstancy,� in Stephen L. Clark, ed., C.P.E. Bach Studies, Oxford: Oxford UP, 1988, p. 105.
[17] Cf. Eugene Helm, �Wilhelm Friedemann Bach,� in New Grove Bach Family, pp. 245-6.
[18] For instance, Spitta (Vol. 3, p. 278) claims that �it is especially in Bach�s sons that we may mark the decay of that power which had culminated [in Sebastian] after several centuries of growth . . . .�_�� Robert Schumann, usually a more perceptive judge that the following quotation suggests, notoriously opined of Emanuel that_�as a creative musician he remained very far behind his father.� As Mendelssohn once said, �it was as if a dwarf had appeared among the giants�� (qtd. in Ottenberg, p. 203).� Hans von B�low also demonstrated a complete lack of sympathy with Emanuel�s keyboard music, the editing of which he called �very dry� work that put him �in a bad mood� (and which, Ottenberg indicates, he handled very irresponsibly, creating an edition of C.P.E.�s keyboard sonatas where _�the original text is sometimes altered beyond recognition�_[ibid., p. 185]).
[19]Rachel W. Wade, The Keyboard Concertos of Carl Philipp Emanuel Bach, Ann Arbor, MI: UMI Research Press, 1981, p. 85.
[20] Regarding the Carl Philipp Emanuel Bach Edition, see Rachel W. Wade, "Filiation and the Editing of Revised and Alternate Versions: Implications for the C.P.E. Bach Edition," in Stephen L. Clark, ed., C.P.E. Bach Studies (Oxford: Clarendon Press, 1988), pp. 277-94; and also David Schulenberg�s page on Emanuel�s concerto Wq. 24. For details about Carl Philipp Emanuel Bach: The Complete Works, please see that edition�s website.
[21] This work is most readily available in the fine 1974 full score edition prepared by G�bor Darvas for Editio Musica, Budapest. C.F. Zelter, director of the Berlin Singakademie, certainly felt the greatness of this work keenly.� Zelter composed his own setting of the Auferstehung text (which several other composers had also set), but explicitly declined to set the aria �Ihr Tore Gottes�; �When questioned about this, he replied that Bach�s setting of the aria was so colossal, so great, so divine, that perhaps any composer who tried to follow it would be put to shame� (--Hans-G�nter Ottenberg, �C.P.E. Bach and Carl Friedrich Zelter,� in C.P.E. Bach Studies, op. cit., pp. 198-9).
[22] Qtd. in H.C. Robbins Landon, Haydn: A Documentary Study, NY: Rizzoli, 1981, p. 88.� See also Ottenberg, p. 179, for this incident and a slightly different translation of Bach�s comments.
[23] Ludger R�my, liner notes to CPO 999 350-2 (C.P.E. Bach: Harpsichord Concertos Wq. 30, 37, & 38, performed by R�my/Les Amis de Philippe, 1995), p. 18.