C.P.E. Bach, Clavier-Sonaten für Kenner und Liebhaber, complete in 6 books [Wq.55-59 & 61], Leipzig, 1779-1787

BACH, CARL PHILIPP EMANUEL

Sechs Clavier-Sonaten für Kenner und Liebhaber...Erste Sammlung; Clavier-Sonaten nebst einigen Rondos fürs Forte-Piano für Kenner und Liebhaber, Zweyte [...Dritte...Vierte...Fünfte...Sechste] Sammlung, Wq.55-59 & 61, Leipzig: im Verlage des Autors, 1779-1787.

SIX FIRST EDITIONS in 2 volumes, oblong 4to (c.27.5 x 31cm), 46, 32, 38, 35, 38 & 30 pages, type-set music and titles, treble [G] and bass clefs throughout, separate subscription lists at the end of each edition, early nineteenth-century parchment-backed brown boards, C.F. Rungenhagen's ownership inscriptions to both volumes, his manuscript title-labels to covers ("C.P.E. Bach's Sonaten für Kenner und Liebhaber 1^te, 2^e 3^e [4^te, 5^te, 6^te] Sammlung CFR"), notes of provenance ("Aus Rungenhagens Nachlaß in der Auction erstanden. Nov.1852 Lichtenstein")

RARE at auction: we have not seen a complete set of C.P.E. Bach's "Kenner und Liebhaber" sonatas for nearly forty years. These editions are the primary sources for these works, as complete autograph manuscripts only survive for two single movement works in the Sixth Book and a few fragments elsewhere.

The thirty-seven pieces represent the culmination of C.P.E. Bach's output for solo keyboard, which was the heart of his creative work. Christoph Wolff observes that, whilst the first collection, published in 1779, was a compilation of older [but unpublished] compositions, new compositions predominate in the later volumes and earned respect as individual creations fit to stand beside the work of Haydn and Mozart.

The composer published the works himself, using J.G.I. Breitkopf as his printer; he took responsibility for the subscription, sale and distribution of the editions himself. Among the subscribers named are Dr Burney, C.F. Abel, J.C.F. Bach, Kirnberger, Forkel, Franz Xaver Duschek, Baron von Swieten (one of the dedicatees) and many nobles, publishers and dealers, some of whom helped with the subscriptions and distribution.

The first recorded owner of these two volumes, C.F. Rungenhagen, was a member of the Sing-Akademie in Berlin from 1801 and its director from 1833 (chosen ahead of Mendelssohn). Marie Lichtenstein was the goddaughter of Carl Maria von Weber and godmother to Ernst Rudorff, who inherited her musical estate in 1890

LITERATURE:

Hoboken 191, 193, 194, 196, 198 & 201 (cf plate 22); RISM B 85, 87, 88, 90, 91 & 93; Hirsch III 16-20;

PROVENANCE:

Carl Friedrich Rungenhagen (1778-1851); acquired at auction by Marie Lichtenstein (1817-1890); Ernst Rudorff (1840-1916)