Truly a major composer.

Yes, I can hear myself a little.

What can you hear ? Haydn - yes (a bit); Beethoven - possibly; Mozart - not a single note.

what an injustice, that this beautiful concert is not widely known. I have been listening to classical music for 50 years and have never heard anyone perform it ....

@@beethov3n It's because your hearing is deteriorating, Herr Beethoven..... I SAID, IT'S BECAUSE YOUR HEARING IS DETERIORATING, HERR BEETHOVEN....

Raden Laksmana This concerto by CPE Bach was written for cembalo concertato (ie solo harpsichord), 2 violins, viola and continuo in 1748; it was conceived for a semi-private chamber performance, eight years before Mozart was born. As such, it has almost nothing in common with Mozart’s piano concertos largely written between 30 and 40 years later for a fortepiano - ie modern action piano - accompanied by a much larger orchestra, intended for a ticket-buying public performance, and written in a completely different style.

Yeah, it's gorgeous.

Vivaldi’s late works sound exactly like this. He lived in Vienna and wanted to impress them and adapted that late baroque/early classic style. He composed into his early sixties!

@@paulbraunstein2290 Vivaldi’s late-Baroque Venetian music sounding like CPE Bach’s early-Classical North German empfindsamer Stil music; there’s a novel, brave, and pretty revolutionary theory.

greatest description

Perfect description! CPE's style is absolutely unique. Nobody else could have composed this concerto.

@@Ed_UKation CPE is one of the few composers who actually *did* describe his own music in his own words - and in some considerable detail: check out his Versuch - Essay on the True Art of Keyboard Playing. This is something that Haydn, Mozart, and Beethoven all did - much to their benefit. You don’t have to read all the technical bits - such as sections on ornamentation, or thorough-bass - but the more general explanations of his musical aesthetics and ideas are fascinating, and will help you understand better a truly unique composer. PS: CPE does *not* describe his own music as either ‘bizarre’ or ‘abrasive’; perhaps the single most important point he makes is about sensitivity and moving the emotions of both the player, and thus the listener.

@@elaineblackhurst1509 Yes indeed. I read somewhere that when Beethoven was teaching Czerny he told him that everything he needed to know was in "Emmanuel Bach's treatise".

@@davebarclay4429 CPE’s manual on keyboard playing was the basis of modern - ie post-Baroque - keyboard technique; it covers just about everything, even down to the modern fingering we use today (many of the associated sonatas are covered with the composers recommended fingering which is excellent). Haydn studied the Versuch and associated sonatas avidly - they were an epiphany moment for him, and CPE was the only composer he ever acknowledged as a mentor; Mozart clearly knew the Versuch, and like Haydn, he adopted the new fingering; Beethoven as you correctly stated was still using the Versuch in the early 19th century, and did indeed tell Czerny to get a copy and study it. The Versuch was also the starting point for all subsequent keyboard manuals, and almost nothing of what it taught has ever been challenged, simply built on as the pianos, and keyboard technique developed over the 19th century.

Totaly agreing with your feeling 👌

@@kakichekakuhncaroletarnec2137 This feeling is confirmed by the quite authoritative Almerican pianist and musicologist Charles Roen (The caliiscal style; Sontat forms). He ranks CPE almost at the same level that Hayfn and Mozart, notain however thet some very firm atchitectural processes of these two great composers are looser in CPR's music. let us conclude that he was a brillant , original and intersting ni umber three i, that key period. Beethoven of his deathbed claimed for CPE's scores. and Heandel's oratorios. - which were eaten by mice in his publicher's archives.

Well spoken.

@@martinebert6508 Thaks ! and cheers 😀

True ..CPE Bach is a very underrated composer

My favorite as well. A true innovator. Not obsessed with formal perfection like some of the bigger names; he just happened upon new forms and ideas through his artistic expression. Absolutely brilliant

C. P. E Bach's imagination, versatility, and sound musical upbringing are at the root of his brilliant works. He was not only an excellent composer but a sound businessman, a pedagogue who wrote the first treatise on keyboard playing, and had a career that was more successful than his father.

he's incredible

Yes, you resumed what I think but don't know how to say.

Paganini and CPE are the most dramáticos for me. The pauses are so well pointed, It brakes my heart in a good way every time I listen to more and more.

Dorian Bianco It’s not sturm und drang. Check out the words ‘empfindsamer Stil’ and/or ‘Empfindsamkeit’.

@@elaineblackhurst1509 Estilo sensible, que diríamos en español, en contraposición al estilo galante o rococó. 👋

CAPTAIN BEASTAZOID It's a piano concerto, not a sonata.

@@dustinwarndahl6272 Mm! Stupid mistake. And I have a degree in piano performance!!! Must have forgot to turn on my brain that day

@@captainbeastazoid7084haha lol

I love discipline!

Your find makes me jealous!

Concordo plenamente. Os compositores menos famosos muitas vezes produzem (produziam) algo extraordinário. E infelizmente C.P.E Bach vive na sombra de seu pai.

Sean Murphy it's a PIECE!!!!!!!

if you think it's a song, then yeah. In fact it's a concerto- duhhh

It is in minor thats why it sounds strange.

So true!

Me too.Piano suit a lot better for his later keyboard concertos.

Lar M Indeed. C.P.E Bach is more classical than baroque.

+Nat Sakimura He is the bridge between Baroque and Classical.Very strictly taught by his father Johann Sebestian and he turns out to be one of the greatest keyboard virtuoso of all time.His monumental book on the art of keyboard playing is a lifetime study.

No, for me this becomes completely synthetic. The modalities inherent to old-timey keyboards allow intimacy and maturity and perhaps more complete expression of the creator's intentions. Just saying.

If CPE Bach exposed to the then modern forte piano sound he may change his mind.

Read Joseph P. Farrell's Thrice Great Hermetica ... latter chapters unfold some of the score via this ... musical calculus and as the Topological Metaphor. in joy.

Morya Federation Esoteric Education That's actually what led me here! I listened to this every day for a couple weeks after reading the book and it really does feel like something special.

Yeah but don't ever let Farrell know you listened to this version...the idea of wq 23 played on piano will make him furious! Ideally seek out Miklos Spanyi's recording -- played on a proper 16' harpsichord.

@@krankyjsmith9780 Frederick the Great had several Silbermann fortepiani along his harpsichords and C.P.E. had access to both, it's quite probable the piece was intended to be just a keyboard concerto, without a clear indication. Haydn's concerti for example work equally well on harpsichord, fortepiano and pipe organ. Wq 23 has a second movement which for me suits a fortepiano more than a harpsichord.

@@Pawel_Malecki I'm just echoing the opinions of author Joseph P Farrell -- he has rather strong feelings about Pianofortes. He also has a prodigious knowledge of Baroque era music. If you join his website gizadeathstar.com you can submit questions and comments to which he will respond at length. So long as you're respectful in how you approach the topic -- I think that would be a conversation we would all enjoy. I think you're right about the andante -- definitely well suited to the subtleties you can only get from a keyboard with volume dynamics.

Yeah, that moment is incredible. One of the best musical moments I've ever heard.

wonderful! it's so strange and beautiful that reminds me Beethoven's 32nd piano sonata second movement

Le falta estructurar mejor sus ideas musicales y creo que por eso no fue tan famoso ni reconocido como su pariente J. S. Bach, Ese si fue todo un maestro.

ReinaDeCorazon3s Quite unbased statement! C.P.E. Bach knew exactly what he did, and his work has an even personality, specially for his unique taste for the unpredictable, 50 or 60 years before Beethoven...

leafar cxl Nah, si no es famoso actualmente en el mundo es por algo. Quien se lleva todo el trofeo es su padre, J.S. Bach. Su música es excelsa.

ReinaDeCorazon3s si juzgamos la calidad de algo por su fama mal vamos, no? Bach no era considerado un buen compositor en su tiempo, sino tan solo un virtuoso de los teclados. Por suerte eso se arregló (le habla un bachmaníaco). CPM Bach, está a la origen de Haydn y del clasicismo, y en muchos sentidos del romanticismo, por sus conceptos (por su "Empfindsamer Stil", por haber añadido el "gesto" a la música, por sus frases inauditas para la época, como "Un músico no puede emocionar a los demás si no se emociona él mismo"). Todo eso es estar 100 años a frente de su tiempo. Ya su musica, es normal que suene raro, era puro experimentalismo para la época. Hoy día se empieza a conocerle mejor y es estudiado con tanto interés como a su padre. Saludos desde Wiena...

leafar cxl you may appreciate Joseph P. Farrell's treatment and (references to Yates) in describing CPE Bach -- check the book, latter chapters of Farrell's Thrice Great Hermetica ...

yes, just the heart of Allegro assai (starts 14:43)

yes me too!

Can't wait well I can wait but I'm looking forward to seeing the bought family in heaven for they were Believers in Jesus Christ and the Hope shines forth in their music. I'm sure right now CPE Bach is doing some performing in heaven I hope to see you there too.

All right then said JS I will.

Funny because most of CPE Bachs pieces were religious works.

I'macat ‘...most of CPE Bach’s works were religious works’, this is not correct and misleading to anyone reading your comment.

@@elaineblackhurst1509 okokok let me correct myself then, a lot of his works were religious. Point is, he was a religious man like his father.

Clickbait; the purported quotation is meaningless out of context as barely a single note of the music of Mozart bears any sign of the paternity of CPE Bach whatsoever. You need to explain to us whatever it was you think Mozart was talking about.

When Mozart visited Leipzig a few years before his death, he had passed through Hamburg shortly before, and there he had taken pains to visit C.P.E. Bach, by then already advanced in years; he heard Bach improvise a few times on his Silbermann instrument. During a musical soirée at the home of Doles Mozart was asked by his host for his opinion of Bach’s playing, as the conversation was entirely concerned with such matters. The great man replied with his characteristically Viennese candour and directness; He is the father, we are the children. Those of us who know anything at all learned it from him;

⁠​⁠​⁠​⁠​⁠​⁠@@alexandrachaini9401 This piece of spurious nonsense which is as fictitious as it is ludicrous is repeatedly quoted, but is in fact nothing less than pure misinformation. We know every step of the journey Mozart undertook from Vienna to Berlin in 1789 - via Prague, Dresden, and Leipzig, and to suggest that somehow Mozart went to Leipzig via Hamburg is alone so absurd and to discredit the rest of this fictional story; take a look at a map of Germany to see clearly the lunacy of claiming that anyone would go to Leipzig from Hamburg. ‘…he had passed through Hamburg shortly before, and there he had taken pains to visit CPE Bach’. 1. Mozart never went to Hamburg. 2. If he had, it would have been recorded either in his biography, or his letters, and by other sources; ditto CPE. 3. CPE Bach died in 1788, Mozart’s tour was 1789. Need I go on ?

Può darsi.

If you're referring to the first movement, you'll find the leaping motif in C.P.E.'s Magnificat

C.P.E. was one of the few composers of the time who had access to a fortepiano at will. This could have been very well written as a harpsichord or piano concerto and published as a harpsichord one simply because of the limited availability of fortepiani at the time. Given how C.P.E.'s output evolved over time I think he foresaw the end of the harpsichord era and deliberately aimed at fortepiano writing.

@@Pawel_Malecki The point is that the modern piano is artificially loud in this recording. It would sound better if the balance was more natural.

Benjamin Marks The ‘feel’ is almost entirely CPE’s very personal and original version of North German ‘empfindsamer Stil’. In truth, all composers across the continent of Europe, throughout the eighteenth century, were to a greater or lesser degree influenced by Italian composers and Italian-style music, but in fact, CPE is one of those where it is actually least evident.

Konrad Scorciapino why is it strange? just wondering, is it because it's not baroque like? it's baroque/classical right??

Strange mood

like germans are!

@@ChiefKabehkar It’s a highly individual and personal take on a North German empfindsamer Stil, and is part of the Classical style. It sounds so strange, as most people’s ears are really only tuned into the music of Mozart and Haydn as representing the Classical style.

...which is leading tone?

Yeah, they resolve it, but its really strange anyway... I honestly wonder, whether this is an error in transcription, whether there is a part lost... The analysis linked by the uploader states, that this final cadence is a sigh of exhaustion, but this is a very uncommon way to end a piece, totally exhausted... Even many later composers wouldn't have dared to write such an ending, I guess

It's not uncommon at all, it's call an appoggiatura, you play a dissonanse in the strong beat and resolve it inmediately by a step or a half-step. It's been done to death since the baroque period...