C. P. E. Bach, old and new

These two handsomely produced volumes are part of the complete edition of C. P. E. Bach's works. They contain the small-scale works written for teaching purposes, the character pieces, individual fantasias, the four duettos and the suites—a fascinating collection of works created at different times for a variety of purposes.

In the Clavierstücke verschiedener Art Bach demonstrates a wide range of techniques of composition and performance on the keyboard, with an 'orchestral' style of writing in the Concerto, Wq 112/1, and Symphony, Wq 112/13; two-part discant style in the Sonata, Wq 112/7, and the dance movements; polyphonic writing in the Fugue, Wq 112/19; and free virtuoso techniques in the solfeggios and fantasias. Among the fantasias is the famous one in F# minor, Wq 67, one of his final works for keyboard, written in 1787. The Solfeggio in G major, Wq 112/18, is notable for its canonic structure, which perhaps reflects the influence of his father's teaching. The following Fugue in G minor, Wq 112/19, has wide-ranging modulations and angular syncopated lines, elements that can be seen (for instance) in the fugues written by French organist-composers such as Nicolas Séjan: this suggests how widely known and respected Bach's music was to become beyond Germany and Austria. Also interesting in terms of later influence is the little Solfeggio in E♭ major, Wq 117/3, where the arabesque-like melodic decoration more than hints at the future and the music of Clementi and Field.

More old fashioned are the suites, although even here Bach cannot resist the temptation to write in his favourite style: the Adagio non molto of the Suite in E minor, Wq 65/4, is full of sudden shifts of dynamic and languishing figures which immediately conjure up the master at his beloved clavichord. In contrast, the Gigue of the Suite, Wq 62/12, also in E minor, is much more reminiscent of his father's writing. A delightful curiosity, the four duets for two keyboard instruments should be better known; they will work with different combinations of instruments, either domestically or in concert.

Within these two volumes are many pieces which have become well known: the Presto in C minor, Wq 114/3, or the Solfeggio of the same key, Wq 117/2, are good examples of the smaller works, whilst the famous Rondo in E minor, Wq 66, with the subtitle Abschied von meinem Silbermannischen Claviere brings to mind Bach's fabled playing of his favourite keyboard instrument, the clavichord. Many works included here should be thought of as clavichord music, having dynamic markings which otherwise would only be playable on a fortepiano (quite possibly an instrument he would have had in mind as well), while much can and should be played on the harpsichord, although the title Petites Pièces pour le Clavecin does not automatically mean that the music is idiomatic for that instrument; it was simply a (then) fashionable expression. Indeed, whereas La Complaisante, Wq 117/28, is more French in manner than some, the French titles disguise typically Empfindsamkeit sentiment as in La Stahl, Wq 117/25, or the aggressively symphonic style of La Böhmer, Wq 117/26. An oddity here is the unusual key of La Xenophon, with seven sharps.

Perhaps most interesting in the two collections entitled Kurze und leichte Clavierstücke of 1766 and 1768 are the many fingerings, confirming that these were intended as teaching pieces. In the editorial introduction Peter Wollny suggests that these were undoubtedly devised by Bach. He also says 'They provide valuable insights into contemporary performance practice and interpretation, especially because they often depart from current practice' (my italics). I would totally agree about the value of these fingerings, but not necessarily about the departure from current practice. The most striking thing about the fingerings is precisely that they are so 'modern', representing...