This is a blog about this site, which introduces the lesser-known Emanuel Bach (C. P. E. Bach).
C. P. E. Bach composed over 180 solo keyboard pieces and more than 60 concertos. Here, I have selected works from two collections of sonatas and a collection consisting of fantasias, rondos, and sonatas. I hope to add more pieces from the remaining works once I have organized them. By following the links, you can immediately listen to performances on YouTube.
This is a relatively early collection of six sonatas. On the linked page, you can listen to piano performances by Markovina and clavichord performances by Spányi.
The Württemberg Sonatas are representative works of the empfindsamer Stil, a hallmark of C. P. E. Bachʼs music, featuring a wide range of emotional expressions, including delicate lyricism, intense passion, and even humor. The slow movements are particularly notable for their introspective and meditative beauty. The minor key works, in particular, convey a deep sense of drama, with their contrasts of shadow and emotion being especially captivating. These sonatas are positioned between the Baroque and Classical periods, yet they also contain elements that lead to the Romantic expression of emotions.
The first movements of these sonatas, while structured in sonata form, are treated with freedom. Bold modulations, improvisational sounds, and delicate ornamentations feel fresher than those of composers like Mozart. This balance of “rules and freedom” remains appealing even today.
These sonatas reveal different expressions whether played on a modern piano or on historical instruments such as the clavichord, harpsichord, or fortepiano. Playing them on the clavichord, which C. P. E. Bach loved, allows for the enjoyment of subtle nuances and dynamics. The sonatas require performers to add ornamentation and improvisation, offering varied expressions with each performance. [Reorganized from ChatGPT4oʼs description.]
These sonatas were a breakthrough work for C. P. E. Bach and strongly influenced Haydn. On the linked page, you can listen to piano performances by Markovina and clavichord performances by Spányi.
The Prussian Sonatas were written for Frederick II, reflecting the royal tastes and expectations, and are characterized by refined elegance and sophistication, with many soft and graceful tonalities. This results in a bright and calm atmosphere that envelops the entire work. The melodies are simple, clear, and emotionally restrained, making them accessible and relaxing for first-time listeners.
Technical elements are subdued, with a focus on musicality, requiring performers to have a high level of sensitivity. As a result, listeners can purely enjoy the beauty of the music. The movements are relatively short and concentrated, making them easy to enjoy with focus. While the Württemberg Sonatas emphasize the improvisational nature of the fortepiano and clavichord, the Prussian Sonatas are strongly intended for performance on the harpsichord, where the essence of the work can be found in its sound. [Reorganized from ChatGPT4oʼs description.]
In sections 4 and 5, pieces from a collection of sonatas will be selected, but before that, one standalone fantasia is introduced here. According to ChatGPT-4, this piece is “a solo keyboard work composed in 1787 with an improvisatory character. It is marked by dramatic and varied expressions, making it a quintessential example of the Empfindsamer Stil (sensitive style). The free changes in tonality and tempo create a strong emotional impact on the audience.”
This selection is from a collection of solo keyboard pieces, primarily consisting of six volumes of sonatas, which C. P. E. Bach self-published to sell not only to music professionals but also to amateurs who enjoyed instruments like the clavichord in their homes.
C. P. E. Bachʼs “Collection of Keyboard Sonatas for Connoisseurs and Amateurs” fully expresses his mature compositional techniques and the characteristics of the empfindsamer Stil. This collection includes a variety of works, ranging from elegant and accessible to dramatic and emotionally rich.
The Wq. 55-2 Sonata in F major and Wq. 55-5 Sonata in F major are notable for their clear and balanced structures, with lyrical melodies. In contrast, the Wq. 59-1 Sonata in E minor and Wq. 55-6 Sonata in G major offer deeper emotional expression and complex harmonic progressions.
The Wq. 56-1 Rondo No. 1 in C major and Wq. 61-1 Rondo No. 1 in E-flat major feature recurring themes that are easy to relate to, providing a light and enjoyable impression. On the other hand, the Wq. 56-5 Rondo No. 3 in A minor and Wq. 59-4 Rondo No. 2 in C minor are characterized by more sentimental and profound expressions.
The Wq. 58-6 Fantasia No. 1 in E-flat major and Wq. 59-5 Fantasia No. 1 in F major are appealing for their free structure and improvisational nature, showcasing Bachʼs rich imagination.
These works were intended to be performed on the keyboard instruments of the time, such as the clavichord, harpsichord, and fortepiano, utilizing the characteristics of each instrument. However, they can also be compellingly performed on modern pianos. These pieces are designed to be emotionally rich for amateurs while requiring advanced techniques for professionals. They serve as an excellent introduction to the diverse musical world of C. P. E. Bach for first-time listeners. [Reorganized from ChatGPT4oʼs description.]
The Sonata Collection Wq. 62 is a compilation of sonatas written by C. P. E. Bach at various times, assembled by Belgian musicologist Alfred Wotquenne. From this collection, I have selected nine sonatas. (For an introduction including other pieces, see "C. P. E. Bach Sonata Collection Wq. 62.")
These pieces were explained by ChatGPT4o: The sonatas included in C. P. E. Bachʼs Wq. 62 are notable for their rich expressiveness in the empfindsamer Stil and innovative compositional techniques. These sonatas are optimized for the keyboard instruments of the time, such as the clavichord and harpsichord, allowing for the full expression of delicate nuances and emotions.
C. P. E. Bachʼs Wq. 65 includes many works from his early years (Berlin period). He composed numerous keyboard pieces, which were sporadically published or left unpublished without specific opus numbers. During the 19th and 20th centuries, C. P. E. Bachʼs works were organized and classified by Wotquenne and others, with his autographs, drafts, and unpublished works compiled under Wq. 65.