Bach C.P.E. sonata for flute and harpsichord in G Major (Wq 134, H 548) was written in 1735 during his studies at the University in Frankfurt (Musikalische Akademie) and when his compositional style was greatly influenced by his father J.S.Bach.

Barthold Kuijken:
"Start with his harpsichord music, not with the flute music. Learn what a clavichord is, what it can do and cannot do, and its expressive means, discover his language through his own medium, his own instruments. And then see how he speaks the same language for another instrument. If you approach C.P.E. Bach from the bass line to the top, you discover a language. It’s like learning German - you learn his syntax, and also the clarity of enunciation and pronunciation. The end of a syllable has a meaning. Whether you have “Dem” with an “m,” or “Den” with an “n,” it makes a
huge difference. You need to see the end of a word and place it at an appropriate moment. So I think the keyboard technique of C.P.E. Bach has a lot to do with that."

Echart Haupt

Armin Thalheim (harpsichord), Siegfried Pank (cello), 1982, Capriccio / Naxos

1. Adagio; 2. Allegro; 3. Vivace

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Bach Carl Philipp Emanuel

Carl Philipp Emanuel Bach (1714-1788) was a German composer, son of J.S.Bach and godson of G.P.Telemann. C.P.E. Bach’s “sensitive style” (empfindsamer Still) marked a transition between baroque and classical style, applying principles of rhetoric and drama to musical structures. C.P.E. Bach was known as “Berlin Bach” to differenced himself from his brother J.C.Bach who was known as “London Bach”. Besides composing, C.P.E.Bach wrote “Essay on the true art of playing keyboard instruments”, thus greatly influencing upbringing of the greatest classical composers: Haydn, Mozart, and Beethoven.