This belongs to his "Hamburger Sinfonien" and to me it is the most inspiring peace of music ever. I do not know why and cannot explain but I simply love it. Particularly the presto.
Outstanding symphony. This is my first time hearing a CPE Bach orchestral work. He seems to have the harmonic language of his father combined with the expressive sensibility of Beethoven. But there's a wild, improvisatory, spirit that's all his own. Very cool. I'll have to check out some more symphonies from him.
He's incredible. His father did a wonderful job preparing him...did you know that JS Bach made CPE study to become a lawyer, so that he wouldn't be a mere musician...there's something about CPE's music that speaks to the freedom he had, that he was able to choose to be a composer and wasn't 'stuck' doing it (since he was a legit lawyer). It's worth observing, since sometimes with JS Bach it's like he's overwriting certain pieces as a way to flex how much of a badass he is....because apparently musicians were disrespected in some ways. Anyways....this piece is so good. There's a better version out there, but I can't find it anymore. It was removed for copyright : /
@@ivangomezguitar9518 The musical 'elite' began by admiring Beethoven and despising Mozart. Followers admired Mozart and despised Haydn. Now, we acknowledge and understand the synergy and differences between these three composers of the "first Viennese school". But CPE Bach is still out of the race. People do not know that, from his deathbed, the great Beethoven himself, after having written his 9th symphont, his 'Diabelli variations', his 'grosse fugue' , his 'Missa solemnis' asked to his editor to visit his archives and send him scores of CPE rather than having them eaten by rats.
C.p.e bachs music is so exciting and just lifts your mood.he is unique and i love his techniques.i dont care what others say.his music satisfies me.if you want excitement then come to c.p.e. his melodies are very beautiful including piano works.what does it matter if they say haydn is so great if his music mostly doesnt satisfy me.c.p.e. is so much fun and he will always be one of my favorites.some of his compositions are way better thsn some of haydns and mozarts symphony and piano.i never cared for what this world values much of the time because its not within my character and i am not captured by haydns or otger composers atention to technique and inovations.it doesnt matter if it doesnt fit my character and it irritates me .
As difficult as the presto is for cello, I have to say this piece is a blast to play and is absolutely beautiful in places, especially in the second movement.
My muy querido y consentido Jorge desde México les mandó todo mi amor lleno de Parabienes para estas fiesta Navideñas que las celebren con mucha felicidad y esa alegría que todos Ustedes me an regalodo.reciban besos abrazos.Los quiero mucho.🏃🏃🏃🏃🏃🏃🏃🎁🎁🎁🎁🎁🎁🎁🎁🎄🎄🎄🎄🎄🎄🎄🎄🎄🎄💝💝💝💝💝💝💝💝💝🙏🙏🙏🙏🙏🙏🙏😄💔😄💔👼👼🎅🎅🎅🎅🎅🎅🎉🎉🎉🎉🎉🎉🎉🎊🎊🎊🎊🎊🎊🎊💌💌💌💔💔💝💝💖💖💖😃😃😃😄😄
Estoy escuchando.ALLEGRETTO ES PARA MI CELESTIAL .SI CLARO MUY ESPECIAL GRACIAS PRECIOSO ERES TODO UN DO,RE, MI SOL.BESOS ABRAZOS.🙏🙏🙏🙏🙏😄😄😄😄😄💝💝💝💝💝😍😘🎊🎊🎊💌💔💔💔💔🎅🎅🎅🎊🎊🎊😃🎁💝🎁🎁🎁🎁
"Bach is the father. We are the children!" No one with a smattering of musical knowledge will be surprised by this remark of Mozart's, made to the Viennese aristocrat and influential patron Gottfried van Swieten. It is well known that Mozart held the composer in the highest esteem and, some would even argue that it was his interest in the contrapuntal, learned style of "Old Sebastian", as he called him, which gave his music its edge.
Robert Runyon Mozart’s comment has been much misunderstood; CPE was highly respected by almost all German/Austrian composers of the time, and more widely across Europe. Mozart may have held CPE ‘in the highest esteem’ but his music clearly has absolutely nothing in common with that of CPE and it is impossible to find almost any traces whatsoever of the father in this particular child’s music. Treat the comment with caution, the comment is meaningless if applied to CPE’s music in general. However, if Mozart was referring specifically to CPE’s hugely important manual on keyboard playing, the ‘Versuch’ - which is the basis of modern keyboard technique - then it makes absolute sense.
@@elaineblackhurst1509 JS Bach, on the other hand, had a profound effect on mozart during his vienna period. you can hear it almost everywhere, mostly totally integrated into his own musical idiom. the little eine kleine gigue was clearly a tribute to JS. the earlier c minor mass is a window into mozart's struggle with the masters of the high baroque.
climate42 This is a really complex issue; Mozart’s interest in ‘old’ music was very real from the early 1780’s onwards when he became more familiar with it due to the visits to Baron van Sweiten’s Sunday morning musical sessions. These sessions were actually dominated by Handel, rather than Bach - there were also pieces by CPE and WF Bach, and other ‘old’ composers too. Mozart busied himself with re-orchestrations of some Handel oratorios for the Baron, conducted three performances of one of CPE’s oratorios in 1788 - with a number of modifications - and he made arrangements of some JS fugues from the ‘48’, amongst other things. We know from both this activity, and from his letters that Mozart, that was specifically interested in some of the fugal techniques of the past age. The little gigue that you mentioned (K574?), was written in Leipzig where he had just heard a Bach work; it is very Bachian as you suggest, though the baroque style Suite (K399) owes at least as much to Handel as to JS Bach. I’m not disagreeing with the main point you made, simply suggesting that Mozart’s fascination was wider than just JS Bach in general, and more focussed on studying contrapuntal techniques in general, in particular, fugues. We know also, that Mozart even copied out some fugal motets by his former Salzburg colleague Michael Haydn for use at the Baron’s sessions, along with the well known request to his father in his letters to find him some of CPE Bach’s fugues. Regarding integrating these older techniques into his more modern music; it is clear that that it is a subject he discussed with Haydn who had being integrating older counterpoint techniques into his works from his earliest works on a regular basis. Haydn was the last great contrapuntist; his heavily annotated copy of Fux was probably lent to Mozart and we know he gave counterpoint lessons to Beethoven. Contrapuntal passages occur frequently in Haydn’s works and sometimes specifically as fugues as in three of the quartets Opus 20, Symphonies 3, 13, 40, and 70 for example, and even in some of Prince Nicholas’ Baryton trios. Mozart’s interest in these contrapuntal features coincides not only with the discovery of Bach and Handel but with his friendship with Haydn, both of which happened at the same time (Haydn attended some of the Baron’s sessions along with Mozart). Hope that’s useful additional information to your original point which is an interesting one.
@@elaineblackhurst1509 yep. the suite is more Handelian, as is the c minor mass. i think JS bach has a bigger impact on his compositional style. he did do some arrangements of bach's fugues, and added preludes of his own. bach was I think a greater influence on his compositional style. I believe he did get exposed to bach's keyboard music, perhaps art of the fuque and the well-tempered clavier. it's been a while since I read about that stuff. source of mozart's style are far more diverse than probably any other composer. I'm sure someone has tried to analyze that. As for haydn, as a casual music listener I really don't hear influence of the german baroque in his countrapuntal work. I'm sure someone has analyzed that, too.
climate42 I agree with almost all that except the degree to which JS impacted on Mozart’s mature style. We know that Mozart absorbed and assimilated musical influences to an extraordinary degree and JS was just one of many - oddly, in stark contrast to Haydn where it is almost impossible to find even faint traces of any other influence apart from CPE Bach from around 1766. The degree to which both Mozart and Haydn adapted the contrapuntal skills they had learnt into ‘modern’ sonata music is one of the reasons for their stature today; the finale of Mozart’s Jupiter symphony sounds closer to today than it does to JS Bach. It was not so much the ‘style’ of JS Bach that impacted on Mozart as much as the techniques which in Sebastian Bach of course, were integrated into music of the highest quality - this is what fascinated Mozart. Mozart - Haydn as well - then took these techniques and used them in modern sonata style music. In a similar way, whilst thinking about the choral section of his 9th symphony, Beethoven spent a considerable amount of time studying the choral works of Bach, Handel, Mozart and Haydn (including the latter’s Emperor’s Hymn); what he learnt was then assimilated into something that became quintessentially Beethovenian, and reference to it being anything other than Beethovenian is just plain silly. Regarding Mozart and Haydn’s interest in counterpoint, contrapuntal music and fugues: the standard manual in the second half of the eighteenth century was Fux’s Gradus ad Parnassum; it was first published in Latin in 1725, then in a German translation in 1742. Fux was not the only book on the subject but was the most widely influential and was used by practically everyone; it was the basis of later theoretical works in the eighteenth century by the likes of Albrechtsberger and on into the nineteenth century. Haydn’s copies of Fux were so heavily annotated with worked examples that it has been speculated that he may have intended re-publishing the work, and his thorough mastery of Fux was the reason he was sought out to be the counterpoint teacher of Beethoven; it has been argued by some scholars that Haydn’s annotated copy may have been studied by Mozart. Beethoven was given counterpoint exercises from Fux by Haydn and subsequently by all his other teachers. This situation probably explains one of the areas of interest in Bach for Mozart - perfectly worked out examples of the theory (Bach owned a copy of the 1725 Latin edition of Fux). This juxtaposition of the old - Fux - with the new ‘sonata’ style music, explains why, as you correctly point out, Haydn does not sound like the German baroque of a previous age, but then neither too does Mozart; both composers had in effect subtly assimilated and then used the theoretical learning to their own purposes in clearly more ‘modern’ music.
![[TH] 2024 PMGC League | Survival Stage วันที่ 1 | PUBG MOBILE Global Championship](http://i.ytimg.com/vi/FVFT-PFwU80/mqdefault.jpg)
This belongs to his "Hamburger Sinfonien" and to me it is the most inspiring peace of music ever. I do not know why and cannot explain but I simply love it. Particularly the presto.
I was mesmerized by this piece of music when I was 14. That was 50 years ago, and I am still mesmerized by it.
Outstanding symphony. This is my first time hearing a CPE Bach orchestral work. He seems to have the harmonic language of his father combined with the expressive sensibility of Beethoven. But there's a wild, improvisatory, spirit that's all his own. Very cool. I'll have to check out some more symphonies from him.
There are spots where he says "Enough of this damm sequence - CHANGE!"
There are some very surprising (to me) harmonies and orchestration in this work. Bravo, Herr Bach!
This is the most spectacular of a seies of six symphonies for strings written by the still undeerrated Carl Philipp Emmanuel Bach.
He's incredible. His father did a wonderful job preparing him...did you know that JS Bach made CPE study to become a lawyer, so that he wouldn't be a mere musician...there's something about CPE's music that speaks to the freedom he had, that he was able to choose to be a composer and wasn't 'stuck' doing it (since he was a legit lawyer). It's worth observing, since sometimes with JS Bach it's like he's overwriting certain pieces as a way to flex how much of a badass he is....because apparently musicians were disrespected in some ways. Anyways....this piece is so good. There's a better version out there, but I can't find it anymore. It was removed for copyright : /
Logan Ross thanks for that ! Didn’t know !
@@ivangomezguitar9518 The musical 'elite' began by admiring Beethoven and despising Mozart. Followers admired Mozart and despised Haydn. Now, we acknowledge and understand the synergy and differences between these three composers of the "first Viennese school". But CPE Bach is still out of the race. People do not know that, from his deathbed, the great Beethoven himself, after having written his 9th symphont, his 'Diabelli variations', his 'grosse fugue' , his 'Missa solemnis' asked to his editor to visit his archives and send him scores of CPE rather than having them eaten by rats.
Gérard Begni wow thanks ! Do you think CPE Bach surpassed his father as far as the development of musical style or contributions to music ?
C.p.e bachs music is so exciting and just lifts your mood.he is unique and i love his techniques.i dont care what others say.his music satisfies me.if you want excitement then come to c.p.e. his melodies are very beautiful including piano works.what does it matter if they say haydn is so great if his music mostly doesnt satisfy me.c.p.e. is so much fun and he will always be one of my favorites.some of his compositions are way better thsn some of haydns and mozarts symphony and piano.i never cared for what this world values much of the time because its not within my character and i am not captured by haydns or otger composers atention to technique and inovations.it doesnt matter if it doesnt fit my character and it irritates me .
Wow, what a seriously great piece! One of the better classical era symphonies I've heard I think.
Learning violin 2 part in high school freshman year. Baltimore School For the Arts.
As difficult as the presto is for cello, I have to say this piece is a blast to play and is absolutely beautiful in places, especially in the second movement.
I love Bach....thank you....beautiful
CPE Bach , an amazing, stupendous wreid genius !!
one of the Bach is back...
A new discover that really makes me enjoy. This CPE is amazing. Thanks for posting something so nice.
My muy querido y consentido Jorge desde México les mandó todo mi amor lleno de Parabienes para estas fiesta Navideñas que las celebren con mucha felicidad y esa alegría que todos Ustedes me an regalodo.reciban besos abrazos.Los quiero mucho.🏃🏃🏃🏃🏃🏃🏃🎁🎁🎁🎁🎁🎁🎁🎁🎄🎄🎄🎄🎄🎄🎄🎄🎄🎄💝💝💝💝💝💝💝💝💝🙏🙏🙏🙏🙏🙏🙏😄💔😄💔👼👼🎅🎅🎅🎅🎅🎅🎉🎉🎉🎉🎉🎉🎉🎊🎊🎊🎊🎊🎊🎊💌💌💌💔💔💝💝💖💖💖😃😃😃😄😄
Estoy escuchando.ALLEGRETTO ES PARA MI CELESTIAL .SI CLARO MUY ESPECIAL GRACIAS PRECIOSO ERES TODO UN DO,RE, MI SOL.BESOS ABRAZOS.🙏🙏🙏🙏🙏😄😄😄😄😄💝💝💝💝💝😍😘🎊🎊🎊💌💔💔💔💔🎅🎅🎅🎊🎊🎊😃🎁💝🎁🎁🎁🎁
Qué bien que te haya gustado, Marinéz. A mí, me encanta, ya lo puedes ver.
La música Clásica es para las personas del buen vovir.
Debuen vivir.
The birth of the symphony.
Sounds 👍 the triangle concerto from Baby Newton.
"Bach is the father. We are the children!" No one with a smattering of musical knowledge will be surprised by this remark of Mozart's, made to the Viennese aristocrat and influential patron Gottfried van Swieten. It is well known that Mozart held the composer in the highest esteem and, some would even argue that it was his interest in the contrapuntal, learned style of "Old Sebastian", as he called him, which gave his music its edge.
Robert Runyon
Mozart’s comment has been much misunderstood; CPE was highly respected by almost all German/Austrian composers of the time, and more widely across Europe.
Mozart may have held CPE ‘in the highest esteem’ but his music clearly has absolutely nothing in common with that of CPE and it is impossible to find almost any traces whatsoever of the father in this particular child’s music.
Treat the comment with caution, the comment is meaningless if applied to CPE’s music in general.
However, if Mozart was referring specifically to CPE’s hugely important manual on keyboard playing, the ‘Versuch’ - which is the basis of modern keyboard technique - then it makes absolute sense.
@@elaineblackhurst1509 JS Bach, on the other hand, had a profound effect on mozart during his vienna period. you can hear it almost everywhere, mostly totally integrated into his own musical idiom. the little eine kleine gigue was clearly a tribute to JS. the earlier c minor mass is a window into mozart's struggle with the masters of the high baroque.
climate42
This is a really complex issue; Mozart’s interest in ‘old’ music was very real from the early 1780’s onwards when he became more familiar with it due to the visits to Baron van Sweiten’s Sunday morning musical sessions.
These sessions were actually dominated by Handel, rather than Bach - there were also pieces by CPE and WF Bach, and other ‘old’ composers too.
Mozart busied himself with re-orchestrations of some Handel oratorios for the Baron, conducted three performances of one of CPE’s oratorios in 1788 - with a number of modifications - and he made arrangements of some JS fugues from the ‘48’, amongst other things.
We know from both this activity, and from his letters that Mozart, that was specifically interested in some of the fugal techniques of the past age.
The little gigue that you mentioned (K574?), was written in Leipzig where he had just heard a Bach work; it is very Bachian as you suggest, though the baroque style Suite (K399) owes at least as much to Handel as to JS Bach.
I’m not disagreeing with the main point you made, simply suggesting that Mozart’s fascination was wider than just JS Bach in general, and more focussed on studying contrapuntal techniques in general, in particular, fugues.
We know also, that Mozart even copied out some fugal motets by his former Salzburg colleague Michael Haydn for use at the Baron’s sessions, along with the well known request to his father in his letters to find him some of CPE Bach’s fugues.
Regarding integrating these older techniques into his more modern music; it is clear that that it is a subject he discussed with Haydn who had being integrating older counterpoint techniques into his works from his earliest works on a regular basis.
Haydn was the last great contrapuntist; his heavily annotated copy of Fux was probably lent to Mozart and we know he gave counterpoint lessons to Beethoven.
Contrapuntal passages occur frequently in Haydn’s works and sometimes specifically as fugues as in three of the quartets Opus 20, Symphonies 3, 13, 40, and 70 for example, and even in some of Prince Nicholas’ Baryton trios.
Mozart’s interest in these contrapuntal features coincides not only with the discovery of Bach and Handel but with his friendship with Haydn, both of which happened at the same time (Haydn attended some of the Baron’s sessions along with Mozart).
Hope that’s useful additional information to your original point which is an interesting one.
@@elaineblackhurst1509 yep. the suite is more Handelian, as is the c minor mass. i think JS bach has a bigger impact on his compositional style. he did do some arrangements of bach's fugues, and added preludes of his own. bach was I think a greater influence on his compositional style. I believe he did get exposed to bach's keyboard music, perhaps art of the fuque and the well-tempered clavier. it's been a while since I read about that stuff.
source of mozart's style are far more diverse than probably any other composer. I'm sure someone has tried to analyze that.
As for haydn, as a casual music listener I really don't hear influence of the german baroque in his countrapuntal work. I'm sure someone has analyzed that, too.
climate42
I agree with almost all that except the degree to which JS impacted on Mozart’s mature style.
We know that Mozart absorbed and assimilated musical influences to an extraordinary degree and JS was just one of many - oddly, in stark contrast to Haydn where it is almost impossible to find even faint traces of any other influence apart from CPE Bach from around 1766.
The degree to which both Mozart and Haydn adapted the contrapuntal skills they had learnt into ‘modern’ sonata music is one of the reasons for their stature today; the finale of Mozart’s Jupiter symphony sounds closer to today than it does to JS Bach.
It was not so much the ‘style’ of JS Bach that impacted on Mozart as much as the techniques which in Sebastian Bach of course, were integrated into music of the highest quality - this is what fascinated Mozart.
Mozart - Haydn as well - then took these techniques and used them in modern sonata style music.
In a similar way, whilst thinking about the choral section of his 9th symphony, Beethoven spent a considerable amount of time studying the choral works of Bach, Handel, Mozart and Haydn (including the latter’s Emperor’s Hymn); what he learnt was then assimilated into something that became quintessentially Beethovenian, and reference to it being anything other than Beethovenian is just plain silly.
Regarding Mozart and Haydn’s interest in counterpoint, contrapuntal music and fugues: the standard manual in the second half of the eighteenth century was Fux’s Gradus ad Parnassum; it was first published in Latin in 1725, then in a German translation in 1742.
Fux was not the only book on the subject but was the most widely influential and was used by practically everyone; it was the basis of later theoretical works in the eighteenth century by the likes of Albrechtsberger and on into the nineteenth century.
Haydn’s copies of Fux were so heavily annotated with worked examples that it has been speculated that he may have intended re-publishing the work, and his thorough mastery of Fux was the reason he was sought out to be the counterpoint teacher of Beethoven; it has been argued by some scholars that Haydn’s annotated copy may have been studied by Mozart.
Beethoven was given counterpoint exercises from Fux by Haydn and subsequently by all his other teachers.
This situation probably explains one of the areas of interest in Bach for Mozart - perfectly worked out examples of the theory (Bach owned a copy of the 1725 Latin edition of Fux).
This juxtaposition of the old - Fux - with the new ‘sonata’ style music, explains why, as you correctly point out, Haydn does not sound like the German baroque of a previous age, but then neither too does Mozart; both composers had in effect subtly assimilated and then used the theoretical learning to their own purposes in clearly more ‘modern’ music.
No is bach is a bach relative
8:15
its still "bach" tho
Daddy's son
carl phillipe emmanuiel bach not original johan sebastian bach