Essay on the True Art of Playing Keyboard Instruments

by Carl Philipp Emanuel Bach

The many ramifications of Bach's comprehensive essay have been neatly explained and annotated in a manner that makes the Essay a valuable reference work and an interesting venture in musical literature and history. The translator, William J. Mitchell, brought to his task a long standing familiarity with C. P. E. Bach.

Genres: Music, Nonfiction, German Literature

449 pages, Hardcover

First published November 1, 1948

About the author

Johann Sebastian Bach fathered noted composer Carl Philipp Emanuel Bach an important figure in the development of the symphony, and his brothers: Wilhelm Friedemann Bach, Johann Christoph Friedrich Bach, Johann Christian Bach.

https://en.wikipedia.org/wiki/Carl_Ph...

Reviews

[Emilia Ann · Rating 4 out of 5]

This book was wonderful! It was incredibly informative and practical. Piano is not my primary instrument, but it certainly offered a number of practical suggestions for both my own practice as well as teaching. Definitely appeals to a certain demographic, but if that’s you it is well worth the read.

[Jonathan O'Neill]

Johann Sebastian Bach's son, who could play his father's most difficult keyboard works by sight at 7 years old wrote a treatise on the art of playing the clavier?! And Haydn, Mozart and Beethoven studied it.... I don't think I've ever hit the 'Buy Now' button faster!

[Genni · Rating 5 out of 5]

This work is both of historical and technical interest. Bach's writing is elucidative (why is that not recognized by Goodreads as a word?) and surprisingly humorous. His passion for music comes through in every detail and it is easy to see why Beethoven swore by it.

For Bach, true art depends on three factors: fingering, embellishments, and performance. It was fascinating to learn that Bach's fingering exercises came from a need to address the teachings of instructors who insisted that students only play with the second, third, and fourth fingers. His attempt to refine the art of embellishments was not as successful, but it is important to see the history of the struggle for uniformity. Some of the problems that were solved by embellishments were solved with the invention of the modern piano. I wondered what his take would be on them today. And his discussion of figured bass was, well, thorough (pardon the pun).

I was left with a desire to listen to and play more of the music of this passionate, musically intelligent man from whom I learned so much. A great work.

[Andrew Z]

I kind of skimmed this as I had to return my copy to the library. HOWEVER, it is a helpful reminder that musicians in the Classical era cared a ton about musical expression! The advice on technique and scale fingering is all helpful for the modern day, too. If I were to read it again, more closely, I'd probably concentrate on the sections about embellishments (so I have a better sense of how to add spicy things to the repeats of sonata expositions etc.) and figured bass.

[Jake Savransky · Rating 5 out of 5]

Very thorough and comprehensive- a book one has to read multiple times to fully master

[Mac · Rating 5 out of 5]

C.P.E. Bach's Essay on the True Art of Playing Keyboard Instruments is well worth reading for multiple reasons. Some are historical: C.P.E. (the son of the famous Johann Sebastian Bach) gives invaluable testimony about the teaching methods of his father. He also describes in great detail the way a master accompanist like himself approaches a figured bass passage. There are also great musical benefits of reading and digesting his extensive discussion on harmony and voice leading. And finally, the reader gets a good sense of the character of C.P.E. Bach himself from reading his words. He comes across as a warm and reasonable person. It is a pleasure to be in his presence.

The best comparisons with this book that I have read are François Couperin's The Art of Playing the Clavecin and Jean-Philippe Rameau's Treatise on Harmony. Couperin's work is enjoyable but relatively short. It does not get into anywhere near the level of detail that Bach covers. Rameau's book is long and detailed but quite tedious in comparison with Bach's.

In addition to my admiration for Bach's work, I have to express my appreciation of this particular edition. The editor and translator, William J. Mitchell, has written an excellent introduction and annotated the text throughout with helpful notes giving historical context or attempting to parse confusing or old-fashioned passages. I recommend this book highly to all musicians, especially pianists.