t Bach festivals and issuing cheap and practical editions. The
activities of this society, together with the new movement to restore
Bach's vocal music to its place in the Lutheran Church, cannot fail to have
a salutary effect on the future of music.

BACH, KARL PHILIPP EMANUEL (1714-1788), German musician and composer, the
third son of Johann Sebastian Bach, was born at Weimar on the 14th of March
1714. When he was ten years old he entered the Thomasschule at Leipzig, of
which in 1723 his father had become cantor, and continued his education as
a student of jurisprudence at the universities of Leipzig (1731) and of
Frankfort on the Oder (1735). In 1738 he took his degree, but at once
abandoned all prospects of a legal career and determined to devote himself
to music. A few months later he obtained an appointment in the service of
the crown prince of Prussia, on whose accession in 1740 he became a member
of the royal household. He was by this time one of the first
clavier-players in Europe, and his compositions, which date from 1731,
included about thirty sonatas and concerted pieces for his favourite
instrument. His reputation was established by the two sets of sonatas which
he dedicated respectively to Frederick the Great (1742) and to the grand
duke of Wuerttemberg (1744); in 1746 he was promoted to the post of
_Kammermusikus_, and for twenty-two years shared with Karl Heinrich, Graun,
Johann Joachim, Quantz and Johann Gottlieb Naumann the continued favour of
the king. During his residence at Berlin he wrote a fine setting of the
_Magnificat_ (1749), in which he shows more traces than usual of his
father's influence, an Easter cantata (1756), several symphonies and
concerted works, at least three volumes of songs,--_Geistliche Oden und
Lieder_, to words by Gellert (1758), _Oden mit Melodien_ (1762) and
_Sing-Oden_ (1766), and a few secular cantatas and other _pieces
d'occasion_. 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 _mit veraenderten Reprisen_ (1760-1768) and a few of
those _fuer Kenner und Liebhaber_. Meanwhile he placed himself in the
forefront of European critics by his _Versuch ueber die wahre Art das
Clavier zu spielen_ (first part 1753, second, with the first reprinted,
1762), a systematic and masterly treatise which by 1780 had reached its
third edition, and which laid the foundation for the methods of