Sinfonia No. 2 in B-flat, Wq. 182/2 (H. 658) Cover Image

Sinfonia No. 2 in B-flat, Wq. 182/2 (H. 658): String Orchestra Conductor Score & Parts

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Sinfonia No. 2 in B-flat, Wq. 182/2 (H. 658) Cover Image
Sinfonia No. 2 in B-flat, Wq. 182/2 (H. 658): String Orchestra Conductor Score & Parts

Sinfonia No. 2 in B-flat, Wq. 182/2 (H. 658): String Orchestra Conductor Score & Parts

By Carl Philipp Emanuel (C.P.E.) Bach, ed./arr. by Ernst Fritz Schmid

Item: 36-A558802
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Sinfonia No. 2 in B-flat, Wq. 182/2 (H. 658): String Orchestra Conductor Score

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Description
Carl Philipp Emanuel Bach (1714-1788) composed Sinfonia No. 2 in B-flat Major, Wq. 182/2 (H. 658) in Hamburg in 1773 as part of the set of six string symphonies commissioned by Baron Gottfried van Swieten, the Austrian diplomat and influential musical patron who later played an important role in the Viennese careers of Haydn, Mozart, and Beethoven. Scored for strings and basso continuo, the work belongs to Bach's mature Hamburg period and exemplifies the Empfindsamer Stil, or "sensitive style," with abrupt contrasts, volatile gestures, expressive harmonic turns, and an unusually vivid sense of drama compressed into a three-movement design. Sinfonia No. 2 in B-flat Major stands among C. P. E. Bach's most admired orchestral works, valued for its place between the Baroque concerto tradition and the emerging Classical symphony. Instrumentation: Str (4.4.3.3.3 in set): Hpchd in set. Reprint of the edition by Ernst Fritz Schmid.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Edwin F. Kalmus
UPC: 604634131842
SKU: 36-A558802
Instrumentation: Str (4.4.3.3.3 in set): Hpchd in set

More about this title

About the Composer: Carl Philipp Emanuel Bach

Carl Philipp Emanuel Bach (1714-1788) was the second surviving son of Johann Sebastian Bach and became one of the most influential composers of the eighteenth century. He spent the first half of his career in Berlin as chamber musician and composer for Frederick the Great, then moved to Hamburg in 1768 where he served as Cantor of the Johanneum and composed prolifically until his death. C. P. E. Bach's music bridges the Baroque world of his father and the emerging Classical style of Haydn and Mozart, and his bold harmonic innovations and expressive intensity made him a towering figure for the next generation of composers.

In the concert hall and classroom, C. P. E. Bach's works reveal why contemporaries held him in such high regard. His symphonies and concertos combine intellectual rigor with genuine dramatic power, and they remain essential repertoire for understanding how the symphony evolved from the Baroque suite into the Classical form that defined the late eighteenth century.

Why we love this

This sinfonia occupies compelling musical territory. It's early enough in the symphonic tradition to retain echoes of the concerto grosso, yet progressive enough to demand the harmonic sophistication and stylistic flexibility that distinguishes good orchestral players. The dramatic temperature swings and unexpected modulations will engage your best musicians while remaining deeply rewarding for student orchestras ready to handle expressive nuance.

What to expect

The opening gestures feel slightly restless, almost agitated, before the music settles into more flowing passages. Harmonic twists arrive without warning; what sounds stable suddenly shifts underneath you. There's an intensity to the writing that feels compressed, almost chamber-like in its immediacy, despite the full string orchestra texture.

Who it's for

Advanced high school and college string orchestras, and semi-professional ensembles seeking repertoire that challenges players both technically and musically. This work sits at the exact intersection of historical significance and performability, making it ideal for programs that program across stylistic periods or explore the Classical transition.

How to get the most out of it

  • Shape the outer movements with clear voice leading in the inner parts. C. P. E. Bach's harmonic language often creates surprising resolutions, and the ensemble must hear these moments as intentional drama, not mistakes.
  • Balance the continuo carefully against the string body. The harpsichord provides harmonic foundation and rhythmic drive, but it should support rather than dominate the texture.
  • Approach the Empfindsamer Stil gestures with conviction. Abrupt dynamic shifts and sudden harmonic turns require committed execution from the first beat; half-measures undermine the entire expressive design.
  • Let the middle movement breathe. This is where C. P. E. Bach's melodic gift shines most clearly, and over-rushing will flatten the emotional arc.

How to use it

Pair this with a Haydn symphony and a Mozart serenade to trace the evolution of the form across a single concert. Alternatively, use it as a centerpiece for a program focused on C. P. E. Bach's orchestral output, where it will anchor both historically and dramatically.

Skills your students will build

  • Expressive phrasing within Classical forms
  • Reading and executing sudden dynamic and harmonic shifts
  • Ensemble balance across shifting instrumental roles
  • Playing with harmonic independence in the inner string parts
  • Coordination with continuo instruments in a Baroque-influenced texture

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