This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
It is said that Emanuel Bach continued to revise his works, including his early compositions, until his later years. Here is an explanation provided by ChatGPT:
The fact that Emanuel Bach (Carl Philipp Emanuel Bach, 1714–1788) continued to revise his own compositions throughout his life is crucial for understanding his attitude as a musician and his creative process. This characteristic is deeply related to his musical curiosity and innovation, as well as his adaptation to the expectations of the audience and the realities of publishing at the time. Below is a detailed explanation.
Reasons for Continuous Revisions
1. Personal Creative Drive
Emanuel Bach critically reviewed and attempted to improve his own works throughout his life. He was proactive in incorporating new ideas and technical innovations, never considering his works as finished, and aimed to refine them into superior forms.
2. Evolution of Musical Style
His active period coincided with the transition from the Baroque to the Classical era, during which musical styles underwent significant changes. He sometimes altered the Baroque elements in his early works to align with the later, more emotionally expressive style (Empfindsamer Stil).
3. Advancements in Instruments and Performance Techniques
The 18th century saw improvements in instruments like the clavichord and fortepiano, enhancing musical expressiveness. Emanuel Bach revised his works to adapt to these latest instruments.
4. Publishing and Audience Demands
Emanuel Bach was a commercially successful composer who reached a wide audience through publishing. It is believed that he made revisions considering sales prospects. Feedback from students and colleagues may also have influenced him.
Specific Examples of Revisions
1. Keyboard Sonatas
Works like the “Prussian Sonatas” (Wq. 48) exist in multiple versions. These revisions can be seen in the treatment of themes, ornamentation, and harmonic choices.
2. Concertos
In keyboard concertos, the same work exists in multiple forms, with reconsidered roles for the solo and orchestra parts. For example, in Wq. 11, revisions emphasize the dialogue between solo and accompaniment.
3. Religious Music
In oratorios and cantatas, revisions to the text and musical structure were made to pursue more effective drama and emotional expression.
Significance in Music History
Emanuel Bachʼs approach to revisions exemplifies how 18th-century musicians engaged with their works and adapted them to changing times. The existence of multiple versions of his works indicates that his music was not merely an artistic product but a continuously evolving creative process.
Conclusion
The background to Emanuel Bachʼs continuous revisions of his works includes his musical curiosity, adaptation to changing times, and dedication to perfecting his compositions. This allowed his music to establish a unique position within the mid-18th-century musical culture and serve as an important reference for later composers.
ChatGPT4o was asked: "Did Emanuel Bach ever rewrite entire movements after completing a piece?"
Yes, Emanuel Bach sometimes rewrote entire movements even after completing a piece. This was part of his “habit of revision” and is considered one of his distinctive traits as a composer.
Consideration for Overall Structure
Many of Bachʼs reasons for revising entire movements were to improve the overall structure of the work. He often made changes to enhance the balance and dramatic effect of his compositions.
Enhancement of Musical Cohesion
He sought tighter structures, especially in the recapitulation of themes and important transitions. Such revisions sometimes included rewriting key sections to emphasize them.
Practical Reasons
At times, revisions were made to meet the demands of performers or commissioners. For example, entire movements might be rewritten to accommodate technical constraints of instruments or changes in performance environments.
Self-Critical Attitude
Bach was highly critical of his own works and was not hesitant to make changes even after completion if he felt there was room for improvement.
Among Emanuel Bachʼs keyboard sonatas and symphonies, there are works with multiple revised versions. In vocal works, it is confirmed that arias were replaced with different ones and choral sections were completely rewritten.
For instance, his famous “Sonatas for Connoisseurs and Amateurs” (Für Kenner und Liebhaber) includes pieces with early and later versions, providing insights into how he continually refined his works.
Emanuel Bach sometimes rewrote entire movements even after completing a piece. This reflects his creativity, self-critical attitude, and efforts to enhance the quality of his works. Studying his revision process reveals his meticulous attention to musical details and his view of composition as an “evolving” rather than “finished” process.
ChatGPT4o was asked: “What kinds of movements were rewritten?”
Several examples are known of specific works where Emanuel Bach rewrote entire movements. He revised movements across various genres, including keyboard pieces, symphonies, and vocal works, and these revisions provide important clues for a deeper understanding of his compositional techniques and musical intentions.
Emanuel Bachʼs keyboard works are one of the genres where many revisions were made.
“Sonatas for Connoisseurs and Amateurs” (Für Kenner und Liebhaber)
These sonata collections (Wq 55–61) often underwent revisions for publication, with refined movement structures and harmonic progressions. For example, the development sections and codas may differ between early and later versions.
“Prussian Sonatas” (Wq 48)
In some sonatas from this collection, the development and handling of modulations in entire movements were revised to achieve a tighter and clearer structure.
In Emanuel Bachʼs symphonies, large-scale revisions of movements were also made.
In vocal works, large-scale revisions of arias and choral sections are observed.
“Heilig” (Heilig Wq 217)
In this double choir piece, Bach revised the conclusion, restructuring the roles of each voice part. Changes were also made to balance the instrumental accompaniment with the choir.
“Magnificat” (Magnificat Wq 215)
In this large-scale religious work, some movements were revised, particularly in the coda and choral arrangement.
In Emanuel Bachʼs sonatas with accompaniment, there are examples where entire movements were restructured.
The reasons Emanuel Bach rewrote movements include:
Structural Improvement
To enhance the balance and clarify the structure of the entire piece.
Demands of Performers and Audiences
To make the work more playable and listenable, tailored to specific performance occasions or audience preferences.
Development of Musical Ideas
To develop initial ideas and pursue new expressions.
Specific examples of Emanuel Bachʼs revisions span a wide range of genres, including keyboard works, symphonies, vocal works, and sonatas with accompaniment. These revisions demonstrate his high awareness and curiosity about music, and his efforts to enhance the completeness of his works. Comparing revised scores allows for a deeper understanding of his compositional process.
ChatGPT4o was asked: "Are there any pieces that were significantly revised but never published or performed?"
Among Emanuel Bachʼs works, there are pieces that, despite being significantly revised, were ultimately neither published nor performed. This reflects his compositional style and the circumstances of music publishing at the time, with several specific factors to consider.
There are several possible reasons why significantly revised works were never made public:
It is challenging to provide specific examples, but some works are inferred from various situations and literature:
Information about Emanuel Bachʼs unpublished or unperformed works is investigated through the following methods:
Study of Autographs
His unpublished manuscripts (autographs) sometimes show traces of revisions. These are currently the subject of much academic research.
Analysis of Letters and Records
Records of planned but unpublished works can sometimes be found in Bachʼs letters or correspondence with publishers.
Research on “Complete Works (CPEB:CW)”
The ongoing “Carl Philipp Emanuel Bach: The Complete Works” project includes unpublished works and revised versions, leading to new discoveries through this research.
Currently, there is a limited list of specific works by Emanuel Bach that were significantly revised but ended up unpublished or unperformed. However, focusing on his unpublished works and revised versions may further reveal details about these pieces.
Since Emanuel Bach was always pursuing musical innovation and improvement, his unpublished works might also hold significant musical value. Researchers and performers are expected to rediscover and revive these works in the modern era.
ChatGPT4o was asked: “Please provide specific examples.”
Regarding specific works by Emanuel Bach that were significantly revised but ultimately not published or performed, research is ongoing, and some examples remain speculative. However, some cases have emerged from existing autographs and records, and specific examples based on these are provided below.
Investigating unpublished revised drafts and unperformed works allows for a deeper understanding of Emanuel Bachʼs compositional process and creativity. The ongoing “CPEB:CW (Carl Philipp Emanuel Bach: The Complete Works)” project may include these unpublished works, and further research is anticipated.
I asked ChatGPT-4o: "It is said that Emanuel Bach continued to revise his own compositions until his later years, but have there been recordings based on the early manuscripts?"
Emanuel Bachʼs continuous revision of his works until his later years is well known, and performances based on early manuscripts are a fascinating topic for understanding his creative process and musical evolution.
However, whether recordings based on early manuscripts exist depends on the following factors:
Emanuel Bachʼs compositions were published multiple times during his lifetime, with each edition differing from the others. Performers and scholars typically base their performances on the final versions or editions considered to have been approved by the composer. As a result, recordings based on early editions are relatively rare.
In recent years, as part of historical music research and practice, some recordings have been made based on early editions. In particular, recordings by period instrument ensembles or research-oriented performers sometimes attempt performances based on early or unrevised editions.
To determine whether specific recordings exist, the following methods may be useful:
If you have a specific piece in mind (e.g., a particular Wq or H number), I can investigate whether a performance based on an early edition has been recorded. Please provide more details, and I can offer more precise information.
I asked ChatGPT-4o: "Arenʼt early manuscripts and later revised versions assigned the same work number? If so, even if we check the work number, we wouldnʼt be able to determine which edition the performance is based on."
That is correct. Emanuel Bachʼs work numbers (Wq numbers and H numbers) generally refer to the compositions themselves and do not distinguish between revisions or different editions. Therefore, identifying whether a recording is based on an early or revised edition solely by its work number is difficult.
To determine which edition is used, the following methods can be useful:
Checking the recordingʼs liner notes or booklet
The recordingʼs liner notes (CD booklets or detailed information on streaming platforms) may specify which edition was used. In scholarly recordings or historically informed performances, there is often a mention of whether the early or revised edition was used.
Looking for recordings using scholarly editions
Emanuel Bachʼs scores are currently published by several reputable scholarly editions (e.g., Bärenreiter and Henle). These editions sometimes provide information on different versions (early and revised editions).
Researching recordings by specialists and scholars
Recordings by performers and researchers specializing in Emanuel Bachʼs works (e.g., Miklós Markovina) often clearly specify their choice of editions.
Understanding the differences between editions
Some of Emanuel Bachʼs compositions underwent significant changes in revised editions, while others had only minor modifications. Gaining detailed knowledge of the differences in editions for specific pieces can help infer the content of a recording.
In recordings, it is common to use revised editions, making recordings based on early editions extremely rare. Therefore, when specifically searching for "early edition recordings," it is necessary to include additional criteria in the search: