Like his father, Carl Philipp Emanuel Bach wrote three sonatas for viola da gamba. They were written during his time at the Berlin court of Frederick the Great and gave the excellent viola da gamba player in the court orchestra an opportunity to show his virtuosic ability. While the two Sonatas Wq 136 and 137 have a basso continuo, Bach followed his father’s example as far as the Sonata in g minor Wq 88 was concerned: the right and left hands of the harpsichord compete with the solo instrument in three equal parts. The original register of the viola da gamba part also permits a version for viola, a practice that has been verified in the sources of the time. This version is available in our Urtext edition as an alternative part.
- Gamba Sonata (Viola) C major Wq 136
- Gamba Sonata (Viola) D major Wq 137
- Gamba Sonata (Viola) g minor Wq 88
- Gamba Sonata C major Wq 136
- Gamba Sonata D major Wq 137
- Gamba Sonata g minor Wq 88
The extensive chamber-musical oeuvre of Carl Philipp Emanuel Bach (1714– 88) also contains three sonatas for viola da gamba and harpsichord. Bach’s father Johann Sebastian had also produced three works in this scoring, the well-known Gamba Sonatas BWV 1027–29. But whereas they represent the obbligato type (i. e. the melody instrument and the harpsichord’s upper and … 続き
Carl Philipp Emanuel Bach
He is primarily famous for his music for keyboard instruments and is regarded as the most important composer of sonatas (approximately 150) in the mid eighteenth century. His self-image as a composer is in line with the aesthetic of the genius. His musical idiom is characterized by a “speaking” disposition and by moments of surprise.
|1714||Born in Weimar on March 8; second surviving son from Johann Sebastian Bach’s first marriage. Musical education from his father; attends the Lutheran Latin school in Köthen, the St. Thomas School in Leipzig. Participates in the Collegium Musicum.|
|1731||Law studies in Leipzig.|
|1734–38||Continuation of law studies in Frankfurt an der Oder. Occasional compositions.|
|1740–68||Harpsichordist in Berlin at the court of Frederick II.|
|1741||Symphony in G major (Wq 173), his first.|
|1742–44||“Prussian” and “Württemberg” Sonatas.|
|1753||Treatise: “Essay on the True Art of Playing Keyboard Instruments” (First part; second part in 1762)|
|1758||Publication of “Professor Gellert’s Sacred Odes and Songs” (Second collection in 1764)|
|1760||Publication of “Six Sonatas for Keyboard with Varied Reprises.”|
|1768||He succeeds Telemann as music director and cantor at the Johanneum Latin school in Hamburg. Composes liturgical music (cantatas) as well as instrumental works (symphonies, concerti, chamber music), large vocal works (Passion settings and oratorios), and occasional compositions for the city’s musical establishment. Organizes “Bach’s Private Concerts.”|
|1775||Oratorio “Die Israeliten in der Wüste” (“The Israelites in the Desert”).|
|1779–87||Publication of “Clavier Sonatas and Free Fantasies along with Divers Rondos […] for Experts and Amateurs.”|
|1788||Dies in Hamburg on December 14.|
Die folgenden Ausführungen beziehen sich auf eine Ausführung mit Viola und Klavier. In dieser Besetzung haben die drei Sonaten auch den häuslichen Praxistest bestanden, und soviel vorweg: sie sind eine große Bereicherung der Violasonaten-Literatur, die doch gerade in der Barockzeit noch recht dürftig ist. Die eingerichtete Violastimme ist mit recht guten Fingersätzen und Strichen versehen, die Continuo-Aussetzung einfach und sehr gut, die Wendestellen sind optimal.