Selected Works Vol. 2: Organ Book

These selections showcase why C.P.E. Bach mattered as more than just J.S. Bach's son: his organ writing is direct, emotionally immediate, and structurally clear without being simplistic. The Edition Peters edition makes these works accessible to organists working beyond the standard Baroque canon, offering repertoire that develops both hands-and-feet coordination and musical independence. Programs benefit from the variety and quality of writing here, whether for liturgical use or concert performance.

Intellectually engaged and emotionally direct. These works feel conversational; a single keyboard idea develops with logic and purpose rather than elaborate display, creating an intimate sense of dialogue between the two hands and between hands and feet. The harmonic vocabulary is richer and more adventurous than typical Baroque organ music, with unexpected turns that reward careful listening.

Organists seeking substantial repertoire beyond the standard Baroque composers and comfortable reading figured bass and two-staff notation. Intermediate to advanced students benefit from the clear keyboard writing and logical harmonic progressions, while professionals programming historically informed recitals will find repertoire that connects the Baroque organ tradition to emerging Classical keyboard aesthetics.

• Balance the two manual parts with clarity; C.P.E. Bach often assigns distinct material to each hand, and the modern edition should make these divisions transparent. Experiment with keyboard registration to highlight these textural shifts without sacrificing harmonic coherence.
• Attend to the figured bass and harmonic progression rather than imposing later Romantic interpretive habits. The expressive power comes from precise voicing and rhythmic control, not tempo flexibility.
• Practice pedal entries separately if this is your first encounter with C.P.E. Bach's organ writing. His feet often carry essential melodic or harmonic material, and independence develops through deliberate, methodical rehearsal.
• Consider the original context of these pieces. Many were written for small chamber organs or keyboard practice, so registration should support clarity over grandeur, even on larger instruments.

Include individual movements in recitals exploring the evolution from Baroque to Classical keyboard writing, pairing them with works by J.S. Bach on one side and early Beethoven or Clementi on the other. These pieces also work well in liturgical settings where a lighter, more transparent texture suits the architectural acoustics of smaller churches. A full program drawn from this collection serves as a focused study of C.P.E. Bach's keyboard voice.

• Independent pedal parts requiring foot technique separate from hand writing
• Reading and interpreting figured bass notation
• Balance between two manuals with distinct textural roles
• Harmonic analysis and voice-leading in the galant style
• Ornamentation and articulation appropriate to Baroque-to-Classical transition