Editing Carl Philipp Emanuel Bach (section)

===Berlin years: 1738–1768===
[[File:Adolph Menzel - Flötenkonzert Friedrichs des Großen in Sanssouci - Google Art Project.jpg|350px|thumb|''{{Lang|de|Flötenkonzert Friedrichs des Großen in Sanssouci}}'' ("Frederick the Great's Flute Concert in Sanssouci") by [[Adolph von Menzel]], 1852, depicts [[Frederick the Great]] playing the flute as C. P. E. Bach accompanies on the keyboard. The audience (invented by Menzel, and not based on any actual occasion) includes Bach's colleagues as well as nobles.]][[File:CPEB with Frederick the Great.jpg|thumb|Detail from previous image]]

A few months after graduation, Bach, with a recommendation by the Graun brothers ([[Johann Gottlieb Graun|Johann Gottlieb]] and [[Carl Heinrich Graun|Carl Heinrich]]) and [[Sylvius Leopold Weiss]],<ref>[[Percy M. Young]], ''The Bachs, 1500–1850'', p. 167</ref> obtained an appointment at [[Berlin]]{{sfnp|''EB''|1878}} in the service of Crown Prince Frederick of Prussia, the future [[Frederick the Great]]. Upon Frederick's accession in 1740, Bach became a member of the royal orchestra.{{sfnp|''EB''|1911}} He was by this time one of the foremost [[keyboard instrument|clavier]] players in Europe, and his compositions, which date from 1731, include about thirty [[sonata]]s and concert pieces for [[harpsichord]] and [[clavichord]].{{sfnp|''EB''|1911}} During his time there, Berlin was a rich artistic environment, where Bach mixed with many accomplished musicians, including several notable former students of his father, and important literary figures, such as [[Gotthold Ephraim Lessing]], with whom the composer would become close friends.

In Berlin, Bach continued to write numerous pieces for solo keyboard, including a series of character pieces, the so-called "Berlin Portraits", including "[[La Caroline (C. P. E. Bach)|La Caroline]]". His reputation was established by the two sets of sonatas which he published with dedications to Frederick the Great (1742) and to [[Charles Eugene, Duke of Württemberg]] (1744).{{sfnp|''EB''|1911}} In 1746, he was promoted to the post of chamber musician (''{{lang|de|Kammermusikus}}'') and served the king alongside colleagues like [[Carl Heinrich Graun]], [[Johann Joachim Quantz]], and [[Franz Benda]].{{sfnp|''EB''|1911}}

The composer who most influenced Bach's maturing style was unquestionably his father. He drew creative inspiration from his godfather Georg Philipp Telemann, then working in Hamburg, and from contemporaries like [[George Frideric Handel]], Carl Heinrich Graun, [[Joseph Haydn]] and [[Wolfgang Amadeus Mozart]] later. Bach's interest in all types of art led to influence from poets, playwrights and philosophers such as [[Friedrich Gottlieb Klopstock]], [[Moses Mendelssohn]] and [[Gotthold Ephraim Lessing | Lessing]]. Bach's work itself influenced the work of, among others, Haydn, [[Wolfgang Amadeus Mozart|Mozart]], [[Ludwig van Beethoven|Beethoven]] and [[Felix Mendelssohn]].

During his residence in Berlin, Bach composed a [[Magnificat (C. P. E. Bach)|Magnificat]] (1749), in which he shows more traces than usual of his father's influence;{{sfnp|''EB''|1911}} an Easter [[cantata]] (1756); several [[symphony|symphonies]] and concert works; at least three volumes of songs, including the celebrated ''[[Gellert Odes and Songs|Gellert Songs]]''; and a few secular cantatas and other occasional pieces.{{sfnp|''EB''|1911}} But his main work was concentrated on the clavier, for which he composed, at this time, nearly two hundred sonatas and other solos, including the set ''{{Lang|de|Mit veränderten Reprisen}}'' (''With Varied [[Reprise]]s'', 1760–1768).{{sfnp|''EB''|1911}}

While in Berlin, Bach placed himself in the forefront of European music with a treatise, ''{{lang|de|Versuch über die wahre Art das Clavier zu spielen}}'' (''An Essay on the True Art of Playing Keyboard Instruments''), immediately recognised as a definitive work on keyboard technique. "Both Haydn and Beethoven swore by it."<ref name=Dammann>{{cite news|last=Dammann|first=Guy|title=CPE Bach: like father, like son|newspaper=[[The Guardian]]|date=24 February 2011|url=https://www.theguardian.com/music/2011/feb/24/cpe-bach}}</ref> By 1780, the book was in its third edition and laid the foundation for the keyboard methods of [[Muzio Clementi|Clementi]] and [[Johann Baptist Cramer|Cramer]].{{sfnp|''EB''|1911}} The essay lays out the fingering for each chord and some chord sequences. Bach's techniques continue to be employed today. The first part of the ''Essay'' contains a chapter explaining the various embellishments in work of the period, e.g., [[trill (music)|trills]], [[turn (music)|turns]], [[mordent]]s, etc. The second part presents Bach's ideas on the art of [[figured bass]] and [[counterpoint]], as well as performance suggestions and a brief section on [[Improvisation|extemporization]], mainly focusing on the [[Fantasia (music)|Fantasia]].

Bach used for his performances instruments (clavichord and fortepiano) made by [[Gottfried Silbermann]],<ref>{{cite book|url=https://books.google.com/books?id=FTorDwAAQBAJ&pg=PA495|page=495|last=Spányi|first=Miklós|author-link=:de:Miklós Spányi|editor-last=Schulenberg|editor-first=David|title=C. P. E. Bach|location=London and New York|publisher=Routledge|year=2016|isbn=978-1-4724-4337-3}}</ref> at that time a well-known builder of keyboard instruments.<ref>{{Cite book|last=Kipnis|first=Igor|url=https://books.google.com/books?id=LG3DUo0pBckC&q=gottfried+silbermann+clavichord+book|title=The Harpsichord and Clavichord: An Encyclopedia|date=2013-04-15|publisher=Routledge|isbn=978-1-135-94978-5|language=en}}</ref> In the recent years one of the models of pianos that Bach was playing, the Gottfried Silbermann 1749, was used as a model for making modern piano copies.<ref>{{Cite web|title=Malcolm Bilson: The Pattern-Prelude Tradition of J. S. Bach and the Silbermann Piano as Precursors to Beethoven's Moonlight – Cornell Center for Historical Keyboards|url=https://www.historicalkeyboards.org/malcolm-bilson-the-pattern-prelude-tradition-of-j-s-bach-and-the-silbermann-piano-as-precursors-to-beethovens-moonlight/|access-date=2021-06-24|language=en-US}}</ref>