This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
I asked ChatGPT4o: "If Emanuel Bach is not widely accepted today, why was he widely accepted during his lifetime?"
The fact that Emanuel Bach was widely accepted in the 18th century but is not as widely accepted today can be largely attributed to differences in how music was listened to and the expected styles of each era. Several factors likely influenced this acceptance.
Emanuel Bachʼs music matched the "new musical tastes" of audiences during his lifetime
Particularly in clavichord performances, Emanuel Bachʼs nuanced dynamics and ornamentations were fully utilized, offering a unique expressiveness. This was received as fresh and sophisticated music by the nobility and intellectuals of the time.
The 18th century was a transitional period that actively incorporated modulations and chromaticism
Positioned between these periods, Emanuel Bach frequently used free modulations that defied tonal constraints, intending to surprise audiences. To the ears of the time, this likely sounded "new and emotionally engaging."
However, modern listeners may find it difficult to grasp Emanuel Bachʼs music, which possesses a fluid sense of tonality and unpredictable developments, as there is a strong perception of "classical music = music with clear tonality like Mozart or Beethoven".
However, as sonata form was refined by Haydn and Mozart, and the stability of the tonic and clear development became standardized, Emanuel Bachʼs music came to be seen as "unsettling" and "too unpredictable," leading to its near disappearance in the 19th century.
Today, Emanuel Bachʼs music is generally less accepted for the following reasons:
The overwhelming influence of Mozart and Beethoven
The decline of clavichord performance practices
Different from contemporary "avant-garde music"
Emanuel Bach was widely accepted during his lifetime because his music resonated with the sensibilities of 18th-century audiences and the trends of the time.
However, with the standardization of music after the 19th century (tonal stability and clear sonata form), Emanuel Bachʼs music came to be seen as "unsettling and unusual," leading to its neglect in the current context.
In recent years, with advances in historical performance and research, there has been a reevaluation, and it has been found that when performed on instruments like the clavichord or fortepiano, the subtle expressiveness inherent in Emanuel Bachʼs music is more effectively conveyed.
I asked ChatGPT4o: "You mentioned ʼ20th-century atonal music is a ʼcomplete negation of tonalityʼ,ʼ but originally, Schoenberg, who initiated atonal music, arrived at atonality through the expansion of tonality."
Indeed, Schoenbergʼs atonal music emerged as a result of "expanding tonality," not as an initial negation of tonality, which is an important perspective.
Schoenbergʼs early style (from the 1880s to around 1908) was influenced by Wagner and Mahler, expanding traditional functional harmony. Works like Verklärte Nacht Op. 4 (1899) and Pelleas und Melisande Op. 5 (1902–03) were harmonically complex yet still tonal.
However, by the time of String Quartet No. 2 Op. 10 (1908) and Erwartung Op. 17 (1909), maintaining unity through traditional tonality became difficult, leading to a state of "atonality".
Thus, Schoenberg did not "negate tonality" but rather "exceeded the bounds of tonality, rendering traditional tonality non-functional," transitioning to atonality.
While Emanuel Bach and Schoenbergʼs music differ in era and context, they share the commonality of "reaching new sounds by expanding the boundaries of tonality."
While Emanuel Bach maintained tonality while expanding it, Schoenberg ultimately transcended tonality, marking a decisive difference.
Therefore, Schoenbergʼs atonal music was recognized as "completely different from previous tonal music," making it less readily accepted.
Additionally, Emanuel Bachʼs music was often forgotten after the 19th century because it was perceived as "unsettling when evaluated by Classical standards." In contrast, Schoenbergʼs music was received as "a new genre of complete atonal music," accepted by some as experimental music.
Schoenbergʼs atonal music indeed emerged from the expansion of tonality, not as an initial negation of tonality, which is a correct observation.
Emanuel Bach also expanded tonality but never fully stepped "outside of tonality," leading to a similar fate of being undervalued by later Classical music standards.
Ultimately, whether music that expands tonality is widely accepted depends significantly on the "familiarity of the audienceʼs ears" of the time.