CPE Bach

Reading:  Marshall: 191-229;  Look at CPE Bach's The True Art of Playing Keyboard
Instruments (MT224 B132). Especially: Introduction to Part I (skim) beginning on p. 30; Chapter One: Fingering (skim, look at illustrations); pp. 88-92 or so in the Embellishments chapter (again, mostly for illustrations); pp. 147-152 for CPE's info on tempo etc.
Optional: Marshall: 191-229. 

Listening:
Sonata 6 from the Probestücke written to accompany The True Art of Playing Keyboard Instruments(1753) (Wq 63/6, -- M23B12H65 1991 score on reserve;  CD 1913)

         What's peculiar about this piece (the three movements)?  What do you think of the clavichord?  Listen particularly to the the third
       movement. What is the title of this piece?  How does it reflect C. P. E. Bach's aesthetic?

Sonata in A minor, Württemberg Sonata #1 (1742-1743) (Wq 49/1)  (Dover score on reserve M23 B12 F4, vol. 1, pp 98-107, CD 1233)
Sonata in G minor, Wq 65/17 (1746) (Henle Score on reserve M23 B12 B7 1986 v. 1 pp. 62-73)
        Is this a "sonata"?
Sonata in B-flat Major, Wq 59/3 (Kenner und Liebhaber V, 3, pub. 1785) (CD 3937 [disc 4]; Dover: M23 B12 F4 v. 2 pp. 176-183; M23 B12 S7 1988; also see modern edition: M22 B1 S4, v. 5 on reserve)
v.1-v.7: facsimile of original print: fifth collection, pp. 14-21)
Fantasia in F major, Kenner und Liebhaber V, 5, Wq 59/5 (CD 3937 [disc 4]; M23 B12 S7 1988: facsimile: fifth collection, pp. 27-31,  also in M22 B1 S4, v. 5)
Extra credit: Fantasia in C major, Kenner und Liebhaber VI, 6 (pub. 1787) (Wq 61/6 ( CD 1233, M23 B12 S7 1988: facsimile: sixth collection, pp. 30, also M22 B1 S4, v. 6 on reserve)  --
what composer's style does this piece remind you of?
Hint: the facsimiles of Kenner und Liebhaber are living in Music Reference

What was C. P. E. Bach's avowed favorite instrument at the time he wrote The True Art? Why?
What is the empfindsamer Stil?  Sturm und Drang?  Who are Kenner?  Liebhaber?  What do you find in C. P. E. Bach's collections für Kenner und
Liebhaber?

Italian Sonatas
JC Bach

Reading:
Marshall: pp. 230-269,

Listening:
Giovanni Benedetto Platti (1690s-1763): Sonata in A minor (MP23 P52, no score)
Baldassare Galuppi (1706-1785): Sonata in F major (#1) (M23 G175 v.1, first work; disc 4354, side A track 1)
Johann Christian Bach (1735-1782): Sonata in D major, op. 5, no. 2 (M23 B124  F8 1992; recording: MP23.B22 op. 5)
    Sonata in C minor, op. 5, no. 6 (M23 B124 F8 1992; recording: MP23. B22 op. 5)
    Sonata in G major, op. 17, no. 4 (M23 B124  F8 1992; recording: disc 79)

Look at the description of "Early Classical Style" in Marshall, p. 239.  All of these sonatas more-or-less correspond to these changes in style from previous
practice.

Think about the Sonatas and/or Fantasies of C. P. E. and J. C. Bach.  How does each composer adapt the new eighteenth-century aesthetic into his work?
How do these sons of J. S. Bach carry on their father's legacy?  Or do they?  Of the two brothers, whose music is more about expression?  Whose is more
about diversion or pleasure?  Cite examples to support your ideas in answer to each of these questions. How do their styles reflect changing tastes in their
respective homes?