This is a blog about this site, which introduces the lesser-known Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
C. P. E. Bach composed numerous solo keyboard pieces and concertos, and here we have selected seven keyboard concertos. At the time, the modern piano did not yet exist, and its predecessors, the fortepiano and harpsichord, were mainly used as solo instruments, but there are also performances using the tangent piano. Additionally, he wrote cello concertos, oboe concertos, and flute concertos, from which we have selected a few pieces each. By following the links, you can immediately listen to performances on YouTube.
Out of nearly 60 keyboard concertos, we have selected eight. These pieces were performed using the harpsichord and the fortepiano, the precursor to the modern piano, as solo instruments. The 18th century was a period of significant development for keyboard instruments, and C. P. E. Bach was at the forefront of composition and performance for these instruments. He began composing keyboard concertos while he was still a student, and continued revising them for over a decade, resulting in his first work, Wq. 1, being a highly polished piece that showcases the charm of his Empfindsamer Stil.
Here, we will focus on works composed after Wq. 14, where his compositional technique became more refined. You can listen to all of these pieces via the linked page. On CD, all of his keyboard concertos with opus numbers are available in performances by Miklós Spányi on period instruments. Most of these pieces can also be heard in performances by Michael Rische on piano. These recordings by Rische are included in a 60-CD box set, along with Markovinaʼs performances of solo pieces.
C. P. E. Bachʼs keyboard concertos are a collection of works that established a unique musical world between the Baroque and Classical periods. They are characterized by expressive emotion in the Empfindsamer Stil, harmoniously balancing formal symmetry with the free expression of emotions.
These eight pieces were composed between the 1740s and 1770s, allowing one to sense the evolution of his musical style. In his early works, Baroque counterpoint remains, while in the middle period and beyond, bold harmonic progressions and formal experiments become prominent. Particularly, the B Minor Wq. 30 and C Minor Wq. 31 stand out for their deep emotional expression and technical prowess.
These concertos were intended to be performed on the keyboard instruments of the time (clavichord, harpsichord, and early fortepiano), allowing for different nuances depending on the instrument used. These emotionally rich and characterful works are recommended even for those new to C. P. E. Bachʼs music. [Revised summary by ChatGPT4o.]
Carl Philipp Emanuel Bach composed at least three cello concertos: A minor Wq. 170, B-flat major Wq. 171, and A major Wq. 172. These works were later arranged as keyboard concertos and can also be heard performed on the harpsichord. Although all three pieces are equally remarkable, I particularly recommend the following:
This is the most “sensitive” (*Empfindsam*) of his cello concertos, and as I mentioned in “Instruments Suitable for Cello Concerto in A minor, Wq. 170”, the timbre of historical cellos—more “sentimental” than modern ones—plays a significant role in this piece (Differences Between Modern and Historical Cellos). I would prefer to recommend this piece over more famous Romantic-era cello concertos.
ChatGPT-4o also describes these three concertos as follows:
C. P. E. Bach’s cello concertos are a collection of works that showcase the rich expressiveness of the *Empfindsamer Stil* through the medium of solo cello, symbolizing the transition from the Baroque to the Classical period. Each of the three concertos possesses a distinct character while sharing a structure that highlights the cello’s warm timbre and virtuosic passages. The A major concerto is bright and lively, the B-flat major one is charming and brilliant, and the A minor concerto is dramatic and emotionally intense, illustrating a diverse range of musical expressions and skillful dialogues between the cello and orchestra.
In particular, the slow movements of each piece feature lyrical melodies that stand out, fully utilizing the expressive potential of the cello. These concertos are masterpieces that explore the cello’s broad expressive range while allowing listeners to experience the emotionally rich world of C. P. E. Bach’s music. For those new to his works, they serve as an excellent introduction to the beauty and depth of the cello.
C. P. E. Bach composed two oboe concertos. These pieces can also be heard as keyboard concertos through arrangements.
C. P. E. Bachʼs oboe concertos are masterpieces that express the Empfindsamer Stil through the form of an oboe solo, allowing one to feel his originality situated between the Baroque and Classical periods. These two pieces utilize the singing tone and technical passages of the oboe, focusing on the dialogue between the solo instrument and the orchestra.
The interplay of brilliance and introspective emotion creates a different atmosphere for each key. The B-flat Major Wq. 164 is characterized by a bright and lively nature. The E-flat Major Wq. 165, while possessing a brilliant and majestic character, also features delicate emotional expressions throughout. These oboe concertos maximize the characteristics of the instruments of the time, filled with C. P. E. Bachʼs emotional depth and musical ingenuity. [Revised summary by ChatGPT4o.]
C. P. E. Bach composed six or more flute concertos. These pieces can also be heard as keyboard concertos through arrangements.
C. P. E. Bachʼs flute concertos reflect the Empfindsamer Stil and make use of the fluteʼs elegant and delicate timbre. Each of these three pieces has a distinct character, demonstrating his creativity and diversity during the transition from the Baroque to the Classical period. The D Major Wq. 13 is characterized by its brilliant and approachable melodies. The G Major Wq. 169 is charming for its pastoral atmosphere brought by the gentle and soft tonality of G Major. The balance of each movement is well-maintained, with the singing melodies of the flute harmonizing impressively with the orchestra. The D Minor Wq. 22-1 is a more dramatic and emotional work, strongly reflecting the characteristics of the Empfindsamer Stil.
These concertos utilize the fluteʼs technique and expressiveness, showcasing C. P. E. Bachʼs unique musical personality. They are easy to enjoy even for beginners and serve as an ideal entry point to discover the depth of his music. [Revised summary by ChatGPT4o.]