Carl Philipp Emmanuel Bach, the second surviving son of J.S. Bach, was the most innovative and idiosyncratic member of an extremely talented musical family. His music did not define an era, like that of his father or that of the master he influenced, Haydn, so much as reveal a deeply personal response to the musical conventions of his time. C.P.E. Bach could play his father's technically demanding keyboard pieces at sight by the time he was seven. He was first exposed to Italian opera seria when he was in Berlin in 1740, and its dramatic style infiltrated his instrumental music. In 1768 C.P.E. Bach left Berlin to succeed Telemann as cantor at the Johanneum in Hamburg, also serving as music director for the city's five major churches. Stylistically distant from his father's polyphony, C.P.E. Bach was a sort of proto-Romantic; he was the master of Empfindsamkeit, or "intimate expressiveness." In chamber music Bach pulled the keyboard out of its subsidiary Baroque role and made it a full partner with, or even the leader of the other instruments. He composed prolifically in many genres, and much of his work awaits public rediscovery.