My work has led me to create scores for many works by C. P. E. Bach. Some were meant for performance, others for study. Most of the scores listed below are based on primary sources (identified within the score), and several include a textual commentary of some sort, but only the four concertos W. 4, 5, 6, and 24 are accompanied by a complete critical apparatus.
I am gradually adding links to recordings (or synthesized audio files) as well as scores. All scores are pdf files, created from files prepared in Finale. Most works are listed by W (Wotquenne) number, followed by works known only by H (Helm) number. A few works lacking both W and H numbers come at the beginning, and two doubtful or spurious works of special interest fall at the end.
March in E-flat for four unspecified instruments (trumpet, two oboes, and bassoon?) from the autograph manuscript Berlin, Staatsbibliothek, St 460 (for further wind band music, see W. 185 and 187 below) (audio file here)
Courante (?) from an early Suite or Sonata in G for keyboard: my reconstruction of a fragmentary movement published in CPEBCW, vol. 1/8.2, no. 68 (audio file here)
W. 4, 5, 6, and 24: critical editions of keyboard concertos in G, C minor, G minor, and E minor
W. 161/1: Trio Sonata in C minor (the Program Trio), “Conversation Between Melancholicus and Sanguineus,” version for violin and obbligato keyboard (links to recording within file)
W. 199/4: “Die Küsse.” After its publication in 1753, this song was the subject of a lengthy critique by Bach’s Berlin court colleague Christoph Nichelmann, who published what he considered to be a corrected version in his book Die Melodie, nach ihrem Wesen sowohl, als nach ihren Eigenschaften (Danzig, 1755). Bach ignored this but entered his own manuscript revisions into a copy of a 1774 edition of the original song. All three versions are shown in this score (click here for audio of Nichelmann’s version)
Sinfonia in G for strings, attributed in the sole source to C. P. E. Bach and identified by one commentator as the work he is supposed to have composed jointly with Ferdinand von Lobokovitz, each composing one measure at a time, in alternation (click here for audio file)
Carl Wilhelm Glösch (1731/2–1809), Flute Sonata in F minor (misattributed to C. P. E. Bach; see CPEBCW, 2/1:xxi) (audio file here)