Carl Philipp Emanuel Bach was widely known for his passionate, incomparable improvisations on the clavichord, most characteristically in the form of free fantasia. His compositions were unique in style, full of contrasts, and universally admired by several generations; the Vienna Classicists, even Beethoven and Schubert, considered him their musical father. Declamatory, improvisatory style is of course the epitaph of all 18th-century music – exemplified in Johann Sebastian Bach's Chromatic Fantasia BWV903, with its central recitative and broken chords audaciously passing through distant harmonies. Johann Nikolaus Forkel, author of the first Bach biography and part of C.P.E. Bach’s literary circles, transmitted a refined version in his manuscript (P 212) and subsequent edition that may derive from a revised original version once in possession of the Bach sons. C.P.E. Bach’s Fantasia in C minor (published in 1753) bears distinct similarities to his father’s Fantasia chromatica, and it has been suggested that it may in fact have been a tombeau to the elder Bach. The deep personal nature and connection between the two works is explicit. For Carl Philipp Emanuel Bach and the ‘Bachists’, the most expressive and intimate compositions were reserved for the clavichord. It was in the clavichord that one might ‘find the soundboard of your heart. … Have no regrets when alone under the moonlight you improvise, or refresh your soul on a summer night, or when you celebrate a spring evening; ah! then pine not for the strident harpsichord. See, your clavichord breathes as gently as your heart.’ (Ch.F.D. Schubart: Musikalische Rhapsodien III, 1786) Charles Burney, who visited C.P.E. Bach in Hamburg in 1772, described the composer improvising at his legendary clavichord, built by Gottfried Silbermann: ‘He grew so animated and possessed that he not only played but looked like one inspired. His eyes were fixed, his lower lip fell, and drops of effervescence distilled from his countenance.’ The original 18th-century instruments heard on this recording – from Regensburg, Stockholm and Vienna – demonstrate possibilities the like of which would have been known to Carl Philipp Emanuel Bach in Berlin and Hamburg and ultimately derive from the Saxon school of G. Silbermann.

The Klavierbüchlein für Wilhelm Friedemann Bach (the original spelling: Clavier-Büchlein vor Wilhelm Friedemann Bach) is a collection of keyboard music compiled by Johann Sebastian Bach for his eldest son Wilhelm Friedemann, who went on to become one of Europe's greatest improvising composers. The book has a clear didactic purpose. Most of the pieces included are better known as parts of The Well-Tempered Clavier and the Inventions and Sinfonias. The pieces in the collection are sequenced by complexity, beginning with the simplest works. The works are for “Keyboard” so they may be played on any instrument of the time: organ, harpsichord, spinet, or clavichord. Bach, however, considered the clavichord the best instrument for personal use, because it is able to express most adequately the cantabile way of playing.

Played on the clavichord by Yuan Sheng, “China’s premier interpreter of Bach” (International Piano Magazine) and a pupil of Solomon Mikowsky and Rosalyn Tureck, Yuan Sheng extensively studied the performance practice of Baroque music. Equally at home at the piano as at the harpsichord, he has an instinctive feeling for the possibilities, sonorities, and touch of the instrument at hand, so that “the listener might easily have imagined the composer at the keyboard” (Boston Intelligencer).

This new release is the latest installment in Miklos Spanyi’s series of the keyboard music of Carl Philipp Emanuel Bach. The works on this volume include some of CPE Bach’s most celebrated works. The six collections “fur Kenner und Liebhaber” were published between 1779 and 1787. Roughly translated as “connaisseurs and amateurs,” the collections were composed for the enjoyment of both the musically trained and untrained. Spanyi has decided to combine works from both collections for this volume, and performs them on the clavichord. The next volume will complete these collections, and will be performed on the tangent piano. Spanyi’s prior installments in this series have been called an “illuminating journey through the keyboard landscape of JS Bach’s best-known son” (BBC Music Magazine) and “one of the most needed and important recording projects in progress today.” (Gramophone)

This disc completes the set of CPE Bach’s Fortsetzung Sonatas, Wq51 that began in Volume 26 in this series. Although the sonatas were not published together with the composer's own variants on them, such alternative versions exist in manuscript, and splitting this set of large-scale works over two discs, Miklós Spányi also includes recordings of these varied or embellished versions that may represent the composer's revisions but could equally well have been intended as study material for his students.

The 'Württenberg' Sonatas are very demanding, clearly intended for skilful, professional keyboard players. The sonatas have almost symphonic or even operatic dimensions and attitudes; in fact they may almost be called romantic, conjuring up fantastic and colourful landscapes. The first three of the set are here performed on Bach's own favourite instrument, the clavichord, by Miklós Spányi, whose indefatigable work in bringing the keyboard music of C.P.E. bach to a wider audience has impressed both critics and music lovers alike.

Miklós Spányi is one of the world’s most acknowledged scholars and performers of the works of C.P.E Bach. On this release he splits Bach’s large “Fortsetzung” Sonatas over two discs and includes the embellished versions that Bach may have intended as study material for his students.

C.P.E Bach's 'Zweyte Fortsetzung' Sonatas are a sequel to his famous Sonatas with Varied Reprises (1760). Of the six 'Fortsetzung' Sonatas, the first three appear here. The pre-sequel set had proven successful, possibly because it included written-out ‘improvisations’ for repeated sections - a feature, oddly, more or less absent from its two sequels. However, an alternative version exists of the first movement of Sonata No.3, which Miklós Spányi includes here, together with two unrelated 1760s sonatas. The second sequel also includes two stylistically contrasting 1740s era sonatas.

In these five sonatas from the 1760s, the period prior to C.P.E. Bach's departure from Frederick the Great's court in Berlin, we find some of his most attractive writing, in the opinion of Darrell M. Berg, author of the liner notes to this disc and general editor of the complete edition of the composer's works. The fabulous landscapes and high drama of so many earlier works (such as the Württemberg Sonatas on volumes 16 and 17 of this series) are left behind, as are the lyrical intimacy and simplicity of the so-called 'easy' sonatas. Or rather: these qualities are incorporated in the 'new' style and a certain synthesis is achieved. The result is a style featuring Bach's familiar energy and vivacity but with greater equilibrium, resulting in compositions we might - for want of a better term - call more 'classical'. Miklós Spányi has acquired a reputation as a leading interpreter and firm advocate of this music that stands between the Baroque and the Classical period, and which is less well-known than it deserves partly because of the difficulty of classifying it. He has here chosen to perform it on C.P.E. Bach's own favourite keyboard instrument, the clavichord. Spányi's ground-breaking work in this series, and in the parallel one of the same composer's keyboard concertos, will be familiar to many lovers of early keyboard music. It has been called 'a major contribution to recorded keyboard literature' in American Record Guide, to single out one single disc, Volume 17 of this series was selected as Editor's Choice in Gramophone, and described as 'the answer to clavichord fans' dreams'.