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The songs of C. P. E. Bach, while not a primary part of his artistic output, represent a substantial portion of his œuvre and reflect a commitment on the composer’s part to expressing profound spiritual and moral concepts. The songs also make a significant contribution to the flowering of the German lied tradition, which is generally considered to begin in the early 19th century with Schubert but which has deep antecedents in the 18th century. The confluence of a rapidly evolving musical language, the philosophical tradition of the Enlightenment, and a native tradition of strophic poetry and song gave rise to the highly compressed, harmonically potent style of Bach’s lieder.Individual songs by C. P. E. Bach are examined for their inventiveness, emotional potency and sensitivity to the text. Selections from each of his three major song collections, as well as secular songs and a large-scale cantata for voice and keyboard, are described in detail. Issues surrounding performance, which may affect the current obscurity of these pieces, are considered: how to programme, edit and perform the songs; what keyboard instrument is best suited; and what skills a singer needs to bring to bear for a modern recital audience. [ABSTRACT FROM PUBLISHER]