Artist Name
Carl Philipp Emanuel Bach
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C. P. E. Bach: Sinfonias, Wq. 183, Nos. 1-4 / W. F. Bach: Sinfonia in F maj (1995)
Hamburg Concertos (1995)
The Complete Keyboard Concertos, Volume 1 (1995)
Concerto pour Flûte / Concerto pour Violoncelle (feat conductor: Pierre Bo (1994)
Five Piano Trios (Trio 1790) (1994)
Berühmte Orgelwerke des Barock (Famous Baroque Organ Pieces) (1994)
4 Symphonies, Wq. 183 / Symphony No. 5, Wq. 182 (Orchestra of the Age of En (1994)
Cello Concertos (1993)
Prussian Sonatas / Württemberg Sonatas (harpsichord: Bob van Asperen) (1993)
Les Sonates prussiennes (harpsichord: Aline Zylberajch) (1993)
Complete Flute Sonatas (feat. traverso: Barthold Kuijken, harpsichord: Bob (1993)
C.P.E. Bach: Oboe Concertos / Oboe Sonata / Marcello: Oboe concerto (1992)
Die Israeliten in der Wüste (Corona & Cappella Coloniensis feat. conductor (1992)
Die Auferstehung und Himmelfahrt Jesu (Orchestra of the Age of Enlightenmen (1992)
3 Quartets / Fantasy in C major (feat. flute: Nicholas McGegan, viola: Cath (1992)
Oboe Concertos (1991)
Concerti: Wq 46 / Wq 23 / Wq 165 (Collegium Aureum feat. conductor: Franz J (1990)
Hamburger Sinfonien, Wq 182, 3 & 4 & 5 / Concerti, Wq 165 & 43,4 (1990)
3 Concertos (1990)
Cello Concertos (Orchestra of the Age of Enlightenment feat. conductor: Gus (1989)
Harpsicord Concertos (1989)
6 Hamburg Symphonies (Camerata Bern feat. conductor: Thomas Füri) (1989)
Gamben Sonaten (feat. viola da gamba: Siegfried Pank) (1987)
Trio Sonatas (1983)
6 Sonaten und 6 Sonatinen (1981)
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Artist Biography
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.



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