KARL PHILIPP EMANUEL See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• KARL PHILIPP EMANUEL BACH (1714-1788)

BACH (1714-1788)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German musician and composer, the third son of Johann See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• WEIMAR

Weimar on the 14th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1714 . When he was ten years old he entered the Thomasschule at See also:

• LEIPZIG

Leipzig, of which in 1723 his See also:

• FATHER

father had become cantor, and continued his See also:

• EDUCATION

education as a student of See also:

• JURISPRUDENCE (Lat. jurisprudenlia, knowledge of law, from jus, right, and prudentia, from providere, to foresee)
• JURISPRUDENCE, COMPARATIVE

jurisprudence at the See also:

• UNIVERSITIES

universities of Leipzig (1731) and of See also:

• FRANKFORT

Frankfort on the See also:

• ODER (Lat. Viadua; Slavonic, Vjodr)

Oder (1735) . In 1738 he took his degree, but at once abandoned all prospects of a Iegal career and deter-See also:

• MINED

mined to devote himself to See also:

• MUSIC

music . A few months later he obtained an See also:

• APPOINTMENT, POWER OF

appointment in the service of the See also:

• CROWN

crown See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince of See also:

• PRUSSIA
• PRUSSIA (Ger. Preussen; Lat. Borussia)

Prussia, on whose See also:

• ACCESSION (from Lat. accedere, to go to, to approach)

accession in 1740 he became a member of the royal See also:

• HOUSEHOLD, ROYAL

household . He was by this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time one of the first clavier-players in See also:

• EUROPE

Europe, and his compositions, which date from 1731, included about See also:

• THIRTY

thirty sonatas and concerted pieces for his favourite See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument . His reputation was established by the two sets of sonatas which he dedicated respectively to See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick the See also:

• GREAT

Great (1742) and to the See also:

• GRAND

grand See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• WURTTEMBERG

Wurttemberg (1744); in 1746 he was promoted to the See also:

• POST

post of Kammermusikus, and for twenty-two years shared with Karl Heinrich, See also:

• GRAUN, CARL HEINRICH (1701-1759)

Graun, Johann See also:

• JOACHIM, JOSEPH (1831—1907)

Joachim, Quantz and Johann Gottlieb See also:

• NAUMANN, GEORG AMADEUS CARL FRIEDRICH (1797-1873)

Naumann the continued favour of the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king . During his See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence at See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin he wrote a See also:

• FINE

fine setting of the Magnificat (1749), in which he shows more traces than usual of his father's See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence, an See also:

• EASTER

Easter See also:

• CANTATA (Italian for a song or story set to music)

cantata (1756), several symphonies and concerted See also:

• WORKS

works, at least three volumes of songs,—Geistliche Oden and Lieder, to words by See also:

• GELLERT, CHRISTIAN FURCHTEGOTT (1715-1769)
• GELLERT, or KILLHART

Gellert (1758), Oden mit Melodien (1762) and Sing-Oden (1766)—and a few See also:

• SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular cantatas and other pieces d'occasion . But his See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main See also:

• WORK

work was concentrated on the clavier, for which he composed, at this time, nearly two See also:

• HUNDRED

hundred sonatas and other solos, including the set mit verlinderten Reprisen (176o–1768) and a few of those See also:

• FUR (connected with O. Fr. forre, a sheath or case; so " an outer covering ")

fur Kenner and Liebhaber . Meanwhile he placed himself in the fore-front of See also:

• EUROPEAN

European critics by his Versuch caber See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die waere See also:

• ART

Art das Clavier zu spielen (first See also:

• PART

part 11 J3, second, with the first reprinted, 1762), a systematic and masterly See also:

• TREATISE

treatise which by 1780 had reached its third edition, and which laid the See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation for the methods of See also:

• CLEMENTI, MUZIO (c. 1751-1832)

Clementi and See also:

• CRAMER, JOHANN BAPTIST (1771—1858)
• CRAMER, JOHN ANTONY (1793—1848)
• CRAMER, KARL VON (1818—r9o2)

Cramer . In 1768 Bach succeeded Georg Philipp Telemann as Kapellmeister at See also:

• HAMBURG

Hamburg, and in consequence of his new See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office began to turn his See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention more towards See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church music . Next See also:

• YEAR

year he produced his See also:

• ORATORIO

oratorio Die Israeliten in der Wuste, a See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition remarkable not only for its great beauty but for the resemblance of its See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan to that of Mendelssohn's See also:

• ELIJAH (a Hebrew name meaning " Yah[weh] is God ")

Elijah, and between 1769 and 1788 added over twenty settings of the See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

Passion, a second oratorio Der Auferstehung 1 The See also:

• OBJECT

object of the Neue Bachgesellschaft is to render the completed results of the first Bachgesellschaft generally accessible by holding frequent Bach festivals and issuing cheap and See also:

• PRACTICAL

practical See also:

• EDITIONS

editions . The activities of this society, together with the new See also:

• MOVEMENT

movement to restore Bach's vocal music to its See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in the Lutheran Church, cannot fail to have a salutary effect on the future of music .

and Himmelfahrt Jesu (1777), and some seventy cantatas, litanies, motets and other liturgical pieces . At the same time his See also:

• GENIUS (from Lat. genere, gignere)

genius for instrumental composition was further stimulated by the career of See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn, to whom he sent a See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter of high appreciation, and the See also:

• CLIMAX, JOHN (c. 525–600 A.D.)

climax of his art was reached in the six volumes of sonatas fur Kenner and Liebhaber, to which he devoted the best work of his last ten years . He died at Hamburg on the 14th of See also:

• DECEMBER (Lat. decent, ten)

December 1788 . Through the latter See also:

• HALF

half of the 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century the reputation of K . P . E . Bach stood very high . See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart said of him, " He is the father, we are the See also:

• CHILDREN, LAW RELATING TO

children "; the best part of Haydn's training was derived from a study of his work; See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven expressed for his genius the most cordial admiration and regard . This position he owes mainly to his clavier sonatas, which See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark an important See also:

• EPOCH (Gr. E7roxij, holding in suspense, a pause, from E1rxav, to hold up, to stop)

epoch in the See also:

• HISTORY

history of musical See also:

• FORM (Lat. forma)

form . Lucid in See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, delicate and See also:

• TENDER

tender in expression, they are even more notable for the freedom and variety of their structural See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design; they break away altogether from the exact formal See also:

• ANTITHESIS (the Greek for " setting opposite ")

antithesis which, with the composers of the See also:

• ITALIAN

Italian school, had hardened into a See also:

• CONVENTION (Lat. conventio, an assembly or agreement, from convenire, to come together)
• CONVENTION, THE NATIONAL

convention, and substitute the wider and more flexible outline which the great Viennese masters showed to be capable of almost See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

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 See also:

• EMINENCE (Lat. eminentia)

eminence who made See also:

• FREE

free use of See also:

• HARMONIC

harmonic See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour for its own See also:

• SAKE

sake, apart from the movement of contrapuntal parts, and in this way also he takes See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank among the most important pioneers of the school of See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna .

His name has now fallen into undue neglect, but no student of music can afford to disregard his Sonaten fur Kenner and Liebhaber, his oratorio Die Israeliten in der See also:

• WASTE (O. Fr. wast, guast, gast, gaste; Lat. vastus, vast, desolate)

Waste, and the two concertos (in G See also:

• MAJOR
• MAJOR (Lat. for " greater ")
• MAJOR (or MAIR), JOHN (1470-1550)

major and D major) which have been republished by Dr See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo See also:

• RIEMANN, GEORG FRIEDRICH BERNHARD (1826–1866)

Riemann . A See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of his voluminous compositions may be found in Eitner's Quellen Lexikon, and a See also:

• CRITICAL (in alphabetical order of authors)

critical See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of them is given in See also:

• BITTER, KARL THEODORE FRANCIS (1867– )

Bitter's C . P . E. and W . F . Bach and deren See also:

• BENDER (more correctly BENDERY)

Bender (2 vols., Berlin, 1868), a mine of valuable though See also:

• ILL

ill-arranged See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information . Four more of Johann Sebastian Bach's sons See also:

• GREW, NEHEMIAH (1641-1712)

grew to manhood and became musicians . The eldest of them, WILHELM FRIEDERMANN BACH (1710—1784) was by See also:

• COMMON

common repute the most gifted; a famous organist, a famous improvisor and a See also:

• COMPLETE

complete See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint . But, unlike the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of the See also:

• FAMILY

family, he was a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of idle and dissolute habits, whose career was little more than a See also:

• SERIES (a Latin word from serere, to join)

series of wasted opportunities . Educated at Leipzig, he was appointed in 1733 organist of the Sophienkirche at See also:

• DRESDEN

Dresden, and in 1747 became musical director of the Liebfrauenkirche at See also:

• HALLE (known as HALLE-AN-DER-SAALE, t0 distinguish it from the small town of Halle in Westphalia)
• HALLE, SIR CHARLES (originally KARL HALLE) (1819-1895)

Halle . The latter office he was compelled to resign in 1764, and thence-forward he led a wandering See also:

• LIFE

life until, on the 1st of See also:

• JULY

July 1784, he died in great poverty at Berlin . His compositions, very few of which were printed, include many church cantatas and instrumental works, of which the most notable are the fugues, polonaises and fantasias for clavier, and an interesting sestet for strings, See also:

• CLARINET
• CLARINET, or CLARIONET (Fr. clarinette; Ger. Clarinette, Klarinett; Ital. clarinetto, chiarinetto)

clarinet and horns .

Several of his See also:

• MANUSCRIPTS

manuscripts are preserved in the Royal library at Berlin; and a complete list of his works, so far as they are known, may be found in Eitner's Quellen Lexikon . The See also:

• FOURTH

fourth son, JOHANN GOTTFRIED BERNHARD BACH (1715—1739) was, like his See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder See also:

• BROTHERS, RICHARD (1757-1824)

brothers, born at Weimar and educated at Leipzig . From 1735 to 1738 he held successively the organist-See also:

• SHIPS

ships at Miihlhausen and See also:

• SANGERHAUSEN

Sangerhausen; in 1738 he threw up his appointment and went to study See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law at See also:

• JENA

Jena; in 1739 he died, aged 24 .