C.P.E. Bach - Wq 215:1 - Magnificat - Magnificat anima mea Dominum

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Akademie für Alte Musik Berlin, Hans-Christoph Rademann, Stuttgart Hymnus Boys Choir

- Magnificat anima mea Dominum
- Et exsultavit spiritus meus in Deo salutari meo.

- My soul doth magnify the Lord.
- And my spirit hath rejoiced in God my Saviour.

Carl Philipp Emanuel Bach (8 March 1714 – 14 December 1788) was a German Classical period musician and composer, the fifth child and second (surviving) son of Johann Sebastian Bach and Maria Barbara Bach. His second name was given in honor of his godfather Georg Philipp Telemann, a friend of Johann Sebastian Bach.

C.P. E. Bach was an influential composer working at a time of transition between his father's baroque style and the classical and romantic styles that followed it. His personal approach, an expressive and often turbulent one known as empfindsamer Stil or 'sensitive style', applied the principles of rhetoric and drama to musical structures. Bach's dynamism stands in deliberate contrast to the more mannered galant style also then in vogue. Lucid, delicate and tender in expression, they are even more notable for the freedom and variety of their structural design. The content of his work is full of invention and, most importantly, extreme unpredictability, and wide emotional range even within a single work.

Through the later half of the 18th century, the reputation of Carl Philipp Emanuel Bach stood very high. Wolfgang Amadeus Mozart said of him, "He is the father, we are the children." It has been written that "in the second half of the 18th century the name `Bach' was almost exclusively associated with the initials `CPE'" and that "his influence on subsequent composers such as Haydn and Beethoven - both of whom were avid collectors of his music -- was in many respects greater than his father's" The best part of Joseph Haydn's training was derived from a study of CPEB's work. Beethoven expressed for his genius the most cordial admiration and regard. His keyboard sonatas, for example, mark an important epoch in the history of musical form.

In retrospect, of course, CPE's reputation has dwindled, dwarfed by that of his father. But there is a strong argument that his influence was in many respects greater than his father's. Indeed, in tirelessly promoting an aesthetic that aims to liberate instrumental music from service as polite entertainment, he is many ways the most significant progenitor of the "absolute music" which came to dominate conceptions of the art in the 19th century, and still – to a very large extent – presides over the life of our concert halls today.

As performers today explore presenting public performances in intimate and unusual concert venues, we can appreciate the composer’s ingenuity and bizarrerie in appropriate settings. “Carlophilipemanuelbachomania,” a term invented by a contemporary, is not far from its realization in the hearts of today’s musicians and listeners.