Stilistischer Paradigmenwechsel oder Generationenkonflikt? Die Gambensonaten von Johann Sebastian und Carl Philipp Emanuel Bach

It seems surprising that both Johann Sebastian and his son Carl Philipp Emanuel composed sonatas for viola da gamba, as the instrument had largely been displaced by the violoncello in the eighteenth century. Whereas one of the three sonatas by the elder Bach originally existed as a triosonata and was only later arranged for instrument and obbligato cembalo, all three sonatas by the younger Bach are original compositions. Two early sonatas are scored for viol and basso continuo; the later one-like his father's sonatas-is a trio for viol and obbligato keyboard instrument. The study investigates the juxtaposition of reminiscences toward his father's compositions with regard to texture and elements of the galant style in the sonatas for viola da gamba by Carl Philipp Emanuel Bach.