Top > Musicians Related to C.P.E. Bach > J.S. Bach (Sebastian) > J.S. Bach and the Empfindsamer Stil

This site introduces unknown Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.

Sebastian Bach, Fantasia BWV 906 and the Empfindsamer Stil

Commonalities between Father and Emanuel

It can be said that these pieces by Johann Sebastian Bach not only adhere to traditional Baroque style but also contain pioneering elements of the empfindsamer Stil that Emanuel would later develop. They share the following characteristics:

• BWV 906 features a very free form and is characterized by strong emotional expression. This freedom and rapid emotional changes are elements common to Emanuel Bachʼs style.
• In the concerto BWV 1052, dramatic expression and contrapuntal structure are evident, along with anticipations of the rapid emotional changes and harmonic instability favored by Emanuel.

Differences with Emanuel

However, the differences between Johann Sebastian Bachʼs works and Emanuelʼs are significant. While Emanuel Bach inherited his fatherʼs tradition, he explored more emotional and introspective musical expressions, emphasizing formal freedom and improvisational elements. The empfindsamer Stil not only emphasized emotional expression but also developed unique methods of expression, such as rapid contrasts, sudden modulations, and rhythmic changes. In these respects, Emanuel can be said to have further evolved his fatherʼs style.

Conclusion

Therefore, the view that Emanuel Bachʼs empfindsamer Stil was influenced by elements found in some of Johann Sebastian Bachʼs works, particularly BWV 906 and BWV 1052, is correct. However, Emanuel further developed this style, pursuing a more free and emotionally rich musical expression, distinguishing himself from his father.

Asked ChatGPT4o: "Among Sebastianʼs works, what other pieces might be considered empfindsam and passed on to Emanuel?"

Among Johann Sebastian Bachʼs works, several pieces possess characteristics related to the empfindsamer Stil, which seem to have been passed on to Emanuel Bach. The empfindsamer Stil focuses on emotional subtlety, rapid emotional changes, and introspective expression, and some of Sebastian Bachʼs late works exhibit these features. Here are some of Sebastian Bachʼs works that contain elements of the empfindsamer Stil that may have been passed on to Emanuel Bach.

1. Clavier-Übung II (BWV 971) “Italian Concerto”

This work, while based on a clear form, exhibits very delicate and emotional expression. Especially the second movement (Andante) is characterized by deep emotional expression akin to the empfindsamer Stil. This inner emotion connects to the emotional expression that Emanuel would later develop.

2. Fantasia and Fugue in C minor (BWV 906)

Already mentioned, this work contains typical elements of the empfindsamer Stil. Particularly the free fantasia part is highly emotional and improvisational, foreshadowing the style of fantasia that Emanuel developed.

3. Keyboard Concerto in D minor (BWV 1052)

This concerto is notable for its dramatic contrasts and emotional expression, containing pioneering elements of the empfindsamer Stil. Especially the second movement (Adagio) expresses deep introspective emotions, possibly influencing the style Emanuel later developed.

4. Partita No. 2 in D minor for Solo Violin (BWV 1004)

Particularly the final “Chaconne” is strong in dramatic and emotional elements, with deep emotional changes. While formally within the Baroque framework, its emotional depth and changes share commonalities with the emotional expression Emanuel later pursued.

5. The Musical Offering (BWV 1079)

This late work employs highly advanced contrapuntal techniques, especially in the canons and ricercars, yet also conceals deep emotional expression. The strictness and introspective nature of the ricercars resonate with the empfindsamer Stil.

6. Clavier-Übung IV (Goldberg Variations, BWV 988)

While formally a strict set of variations, each variation contains emotional expression and dramatic contrasts. Especially the 25th variation ("Black Pearl") stands out for its deep pathos and emotional expression, connecting to Emanuelʼs emotional expression.

7. Cantata “Ich habe genug” BWV 82

The aria “Ich habe genug” from this cantata is a highly introspective and emotional work, expressing personal emotions and spiritual conflicts characteristic of the empfindsamer Stil. Such introspective emotional expression relates to the style Emanuel Bach later pursued.

8. Aria “Erbarme dich, mein Gott” from “St Matthew Passion” (BWV 244)

This aria is notable for its emotional depth and expressiveness, dramatically conveying sorrow and pain. It connects to the emotional expression of the empfindsamer Stil and relates to the emotional subtlety Emanuel pursued.

These works exemplify how Sebastian Bach took a step towards emotional expression beyond the traditional Baroque style. Emanuel inherited these emotional expressions and further developed them, establishing a more free and emotionally rich empfindsamer Stil.

Asked ChatGPT4o: "Is it possible to know what Sebastian thought about Emanuelʼs empfindsamer Stil?"

There is no direct evidence or records of what Johann Sebastian Bach thought about Emanuel Bachʼs empfindsamer Stil, making it difficult to know his specific opinions. However, some inferences and indirect information allow for a certain level of understanding.

1. As an Educator

Johann Sebastian Bach was a very strict educator who valued tradition. Much of his music education was based on counterpoint and Baroque forms, and Emanuel learned these foundations thoroughly. Given Bachʼs highly advanced musical theory and technique, and his emphasis on traditional frameworks, he may have been at least skeptical of new musical styles like Emanuelʼs empfindsamer Stil.

2. Emanuelʼs Individuality

Emanuel Bach developed his own musical style, distinct from his fatherʼs music. The empfindsamer Stil is a more emotional and introspective style, contrasting with his fatherʼs strict counterpoint and Baroque structures. Emanuel himself seemed proud of developing his musical style beyond his fatherʼs influence, which provides a clue to how Sebastian might have evaluated Emanuelʼs music.

3. Family Records

Family records and letters from the Bach household provide fragmented insights into Johann Sebastianʼs feelings towards his sons, but there is no clear evidence of specific criticism or praise for Emanuel. While Sebastian is known to have had high expectations for his eldest son Friedemann, Emanuel was allowed to pursue his own path and seemed to maintain a harmonious relationship with his father.

4. Emanuelʼs Later Reflections

In Emanuelʼs own memoirs and letters, he touches on the differences between his fatherʼs music and his own. Emanuel always respected his fatherʼs greatness but clearly distinguished his own musical style and pursued his own musical expression. This suggests that while Emanuel held a certain respect for his father, he was confident in pursuing his own musical path.

5. Legacy of Bachʼs Music

After Johann Sebastian Bachʼs death, his musicʼs reputation declined, especially with the rise of the Classical era, when his style was seen as “outdated.” However, Emanuel played a role in preserving his fatherʼs legacy while embarking on new musical styles himself. This suggests that Sebastian may not have had many opportunities to directly criticize Emanuelʼs style.

Conclusion

While it is impossible to know exactly how Johann Sebastian Bach felt about Emanuel Bachʼs empfindsamer Stil, it can be inferred from his traditionalist stance as an educator that he may have had mixed feelings about Emanuelʼs music, which diverged from his own style. However, the lack of direct conflict or criticism in records suggests that as a father, he may have allowed Emanuelʼs independent development while hoping he would be respected in the family and music world.

Asked ChatGPT4o: "How do we know that ʼEmanuel himself was proud of developing his musical style beyond his fatherʼs influenceʼ?"

The view that Emanuel Bach was proud of developing his musical style beyond the influence of his father, Johann Sebastian Bach, is inferred from his letters, writings, contemporary records, and references to his music. Specifically, the following elements form the basis of this view.

1. Emanuelʼs Letters and Writings

Emanuel Bach expressed his thoughts on his music in several letters and writings during his lifetime. In these, he emphasized that while he respected his fatherʼs musical legacy, he independently developed his own musical style. His famous treatise, “Essay on the True Art of Playing Keyboard Instruments” (Versuch über die wahre Art das Clavier zu spielen), details his techniques and methods of expression for keyboard instruments. This work reflects his musical philosophy, indicating a transition from Baroque forms to a new style rich in emotion.

2. Contemporary Evaluation and Emanuelʼs Position

Emanuel Bach was recognized as a representative of the new era of music, distinct from his father. His music significantly contributed to the empfindsamer Stil and the development of the early Classical style, and was appreciated by contemporary composers and critics for its uniqueness. Emanuel himself must have understood that while his fatherʼs music was rooted in traditional and strict counterpoint, his own music emphasized emotional and free expression.

3. Contrast with His Fatherʼs Music

While Emanuel held respect for his fatherʼs music, his compositional style gradually diverged from the Baroque counterpoint tradition. Emanuelʼs works, particularly his improvisational and emotionally rich fantasias and empfindsamer Stil pieces, were innovative for their time, clearly differing from his fatherʼs music. His awareness and intentional pursuit of a new musical style are evident from the content and stylistic changes in his works.

4. Position as a Pioneer of the Empfindsamer Stil

Emanuel Bach is recognized as one of the composers who developed the new musical style later called the “Empfindsamer Stil”. He pioneered a style that emphasized free form and emotional expression, clearly diverging from his fatherʼs strict formal beauty. Music historians and critics generally view Emanuel as proud of his musical innovations and consciously exploring new directions.

5. Posthumous Evaluation of Emanuelʼs Music

Emanuel Bach greatly influenced later Classical composers like Mozart and Haydn. Mozart particularly valued Emanuel Bachʼs keyboard works, indicating that his music was at the forefront of its time. Emanuel himself likely was aware of his influence and innovation in the music world.

6. Testimonies from Family and Friends

Testimonies from Emanuel Bachʼs family and friends also support the view that he was proud of his musical growth. Emanuel is reported to have been aware that his music represented a new era and was a step beyond his fatherʼs traditional musical style.

Thus, the view that Emanuel Bach was proud of developing his musical style beyond his fatherʼs influence is based on his writings, musical activities, and contemporary evaluations. He respected his father, Johann Sebastian Bach, but felt a strong sense of mission in pioneering the music of a new era.

Asked ChatGPT4o: "If Emanuel Bach was highly regarded at the time, shouldnʼt Sebastianʼs BWV 906 and BWV 1052 also have been well-received? Were they only poorly received?"

While Emanuel Bach was highly regarded, several historical and musical contexts explain why Johann Sebastian Bachʼs works (such as BWV 906 and BWV 1052) were not as appreciated at the time. The low evaluation of Father Bach during his lifetime and after his death was significantly influenced by changes in musical tastes and the emergence of new styles.

1. Musical Transition of the Era

In the late 18th century, Johann Sebastian Bachʼs strict counterpoint and Baroque style were rapidly seen as outdated. Music gradually transitioned to the Classical era, emphasizing more concise and clear forms and emotional expression. Emanuel Bach was recognized as a representative of this new era of music, and the empfindsamer Stil and early Classical style were embraced by the public.

In contrast, Johann Sebastian Bachʼs works, even during his lifetime, were sometimes seen as outdated. For example, the concerto BWV 1052, characterized by contrapuntal structure and dramatic expression typical of the Baroque style, may have been perceived as old-fashioned by contemporary audiences. Additionally, the free-form fantasia BWV 906, while innovative, was likely not well-received due to its deviation from the emerging Classical trends.

2. Bachʼs Complexity and Audience Preferences

Johann Sebastian Bachʼs music is highly complex, with advanced contrapuntal and harmonic structures requiring significant knowledge. His music posed intellectual and technical challenges, which could be perceived as difficult by general audiences. In contrast, Emanuel Bachʼs music, with its more emotional and direct expression, was easier for audiences to understand and emotionally resonate with. This difference likely influenced their evaluations.

3. Contrast between Emanuel and His Fatherʼs Music

Emanuel Bach actively embraced new musical styles and was supported by contemporary audiences and critics. He established a style emphasizing emotional expression, free form, and subtle emotional changes, aligning with the tastes of the time and leading to the wide acceptance of his music.

Conversely, Johann Sebastian Bachʼs music, based on strict forms and contrapuntal tradition, was not as appreciated in the new musical era. Particularly in the decades following his death, his music was performed less frequently and faded into the background of music history.

4. Revival of Sebastian Bachʼs Evaluation

However, Johann Sebastian Bachʼs music was not entirely forgotten. Its complexity and depth were highly valued by some musicians and intellectuals, and works like the “Well-Tempered Clavier” continued to be used for educational purposes. The broad revival of his evaluation began in the 19th century, notably with Felix Mendelssohnʼs revival performance of the “St Matthew Passion” in 1829, marking a significant turning point. From this period, Johann Sebastian Bachʼs music was re-evaluated, eventually establishing the high status it holds today.

Summary

Johann Sebastian Bachʼs works (such as BWV 906 and BWV 1052) were not highly regarded by contemporary audiences and musicians, as they were seen as outdated in the context of the late 18th centuryʼs evolution towards more concise and emotional music. Emanuel Bach was highly regarded for aligning with this new musical trend, while his fatherʼs music temporarily experienced a decline in evaluation due to its complexity and traditional nature. However, after subsequent re-evaluation, Johann Sebastian Bachʼs works are now widely recognized as classical masterpieces.

Asked ChatGPT4o: “Under what circumstances was BWV 906 composed?”

Regarding the composition circumstances of BWV 906 (Fantasia and Fugue in C minor), there is a lack of precise documentation, leaving many aspects of its composition period and purpose unclear. However, some background and conjectures exist.

1. Composition Period and Location

BWV 906 is believed to have been composed in Bachʼs later years (the 1740s). During this period, Bach served as the cantor of St. Thomas Church in Leipzig, focusing much of his creative activity on religious music. However, Bach also composed secular music, including clavier works, in his later years, and BWV 906 is considered one of these.

2. Form and Content

BWV 906 consists of a “Fantasia” and “Fugue,” but the fugue remains unfinished, with the fantasia part receiving particular attention. This fantasia part is characterized by a very free form and rich emotional expression, containing elements akin to the empfindsamer Stil that Emanuel Bach later developed. It is highly improvisational and dramatic, departing from traditional Baroque forms with its emotional expression.

Such free form and emotional expression are common features in the “fantasia” genre of solo keyboard works at the time. It is speculated that Bach composed this work to experiment with personal expression distinct from religious music.

3. Possibility of Educational Purpose

Johann Sebastian Bach placed great importance on his role as an educator. Many of his keyboard works were composed for educational purposes for his students and sons, and BWV 906 may have been written with such a purpose in mind. Particularly, the fantasia part might have functioned as a teaching tool to cultivate free improvisational performance skills.

4. As a Venue for Personal Expression

While Bach was primarily engaged in religious music in his Leipzig duties, his interest in secular music continued into his later years. Especially, clavier works represented Bachʼs personal creative drive, and BWV 906 may have been composed as part of this. The work contains many improvisational and emotional elements, possibly expressing Bachʼs inner emotions.

5. Unfinished Fugue

The fugue part of BWV 906 remains unfinished, leaving the reasons for its incompletion unclear. It is possible that Bach did not intend to complete this work or was interrupted by health issues or other tasks in his later years, but the specific reasons are unknown.

Conclusion

BWV 906 is a fantasia composed in Bachʼs later years, characterized by strong emotional expression and improvisational elements. While the specific circumstances and purpose of its composition remain unclear, it is likely that it was intended for educational purposes or as an attempt at personal expression. Additionally, it contains elements that resonate with Emanuel Bachʼs empfindsamer Stil, making it a work that anticipates his musical evolution.

Asked ChatGPT4o: “Was BWV 906 published by Emanuel Bach?”

There is no record of BWV 906 (Fantasia and Fugue in C minor) being published by Emanuel Bach. This work is an unfinished piece by Johann Sebastian Bach and was not published during his lifetime.

While Emanuel Bach is known to have contributed to the publication and preservation of some of his father Johann Sebastian Bachʼs works, there is no specific evidence of publication related to BWV 906. In fact, many of Sebastian Bachʼs keyboard works remained unpublished for some time after his death.

Emanuel Bach and the Preservation of His Fatherʼs Works

Emanuel Bach valued his fatherʼs legacy and particularly endeavored to preserve important religious works (e.g., “St Matthew Passion”), but he did not publish all of his fatherʼs works. Johann Sebastian Bachʼs keyboard works were not widely recognized until the 19th century, especially after composers like Felix Mendelssohn revived performances of works like the "St Matthew Passion," leading to a re-evaluation of Father Bachʼs works.

Later Evaluation of BWV 906

BWV 906 became widely known in the 20th century. The piece, with its unfinished fugue and unique fantasia form, may have had fewer opportunities for publication or performance compared to other works. Additionally, such a form may not have been widely appreciated during Bachʼs lifetime.

In conclusion, there is no record of BWV 906 being published by Emanuel Bach, nor is there information that he specifically highlighted this piece while preserving his fatherʼs legacy. The work became widely appreciated much later.

Asked ChatGPT4o: “When was BWV 906 published?”

BWV 906 (Fantasia and Fugue in C minor) was not published during Johann Sebastian Bachʼs lifetime and was only published in the 19th century. The exact year of its first publication is often unclear, but many of Bachʼs works were first comprehensively published from the late 19th to early 20th century.

Specifically, it may have been published as part of the Bach-Gesellschaft Ausgabe, a project established in the 19th century to compile and publish Bachʼs works. This Bach edition, published from 1851 to 1899, organized and published all of Bachʼs works. BWV 906 is likely included in this collection.

Publication and Impact of the Bach Edition

The Bach-Gesellschaft Ausgabe was a significant publication that systematically collected and published Bachʼs works, leading to the re-evaluation of his music. This project made Bachʼs works widely known and expanded their performance and study.

BWV 906 was likely first widely published in this context, becoming re-evaluated as one of Bachʼs works.

Conclusion

BWV 906 was likely first published in the late 19th century as part of the Bach edition project. It was not published during Bachʼs lifetime and only became widely known after the re-evaluation of his works in the 19th century.

Asked ChatGPT4o: “Did Emanuel Bach know about the existence of BWV 906?”

There is no direct evidence to confirm whether Emanuel Bach knew about the existence of BWV 906, making it difficult to say for certain. However, considering several circumstances, it is quite possible that he was aware of this work by his father, Johann Sebastian Bach.

1. Musical Exchange within the Family

Johann Sebastian Bach had a very close musical relationship with his sons, and Emanuel, among others, received direct musical education from his father. Emanuel Bach studied clavier performance and composition techniques under his fatherʼs guidance during his youth in Leipzig. Therefore, it is highly likely that Emanuel was exposed to his fatherʼs clavier works, especially those centered around keyboard instruments.

BWV 906 (Fantasia and Fugue in C minor) may have been composed during the period when Emanuel was with his father (late 1720s to 1730s), suggesting that Emanuel might have known about this work or seen its drafts.

2. Preservation and Management of His Fatherʼs Works

After Johann Sebastian Bachʼs death, Emanuel Bach took on the role of managing his fatherʼs legacy. He preserved many of his fatherʼs manuscripts and works, passing them on to future generations. Emanuel managed his fatherʼs religious and keyboard works, which likely included unfinished works and drafts. It is possible that Emanuel encountered BWV 906 during this process.

3. Similarity to Emanuelʼs Compositional Style

The fantasia part of BWV 906 is characterized by an improvisational and emotionally rich style, sharing elements with the empfindsamer Stil that Emanuel Bach later developed. Emanuelʼs style, while influenced by his father, explored more emotional and free forms, making BWV 906 potentially stimulating for him.

4. Absence of Emanuelʼs Comments

However, there are no specific references to BWV 906 in Emanuel Bachʼs letters or writings. Therefore, it is difficult to assert how he felt about this work or how aware he was of its existence.

Conclusion

It is highly possible that Emanuel Bach knew about Johann Sebastian Bachʼs BWV 906, but there is no definitive evidence. Considering the musical exchange within the family and his role in managing his fatherʼs legacy, it is plausible that Emanuel encountered this work, but the details remain unknown due to the lack of specific references in his records.

Asked ChatGPT4o: "If BWV 906 was composed in the 1940s, could it not be considered influenced by Emanuel?"

If BWV 906 (Fantasia and Fugue in C minor) were hypothetically composed in the 1940s, it would be difficult to consider it influenced by Emanuel Bach. For the following reasons, if composed in the 1940s, a direct influence from Emanuel Bach would not be likely.

1. Historical Musical Context

The 1940s were primarily a time of modernism and avant-garde music in the 20th century. This era was characterized by a significant departure from Classical and Baroque styles, with more experimental and innovative music becoming mainstream. Composers explored the breakdown of tonality (atonal music) and new methods of expression (12-tone technique and neoclassicism), with little direct continuation of 18th-century styles like Emanuel Bachʼs empfindsamer Stil.

Therefore, if a work were composed in the 1940s, it would more likely be influenced by the trends of 20th-century music or as part of a "Baroque revival" or “neoclassical approach,” where Johann Sebastian Bach and his eraʼs styles were re-evaluated, rather than directly influenced by Emanuel Bach.

2. Scope of Emanuel Bachʼs Influence

Emanuel Bach significantly influenced the empfindsamer Stil and early Classical music in the late 18th and early 19th centuries. However, his influence was primarily limited to this period. While he influenced composers like Mozart and Haydn, 20th-century musicians were more often influenced by Johann Sebastian Bach and other Baroque and Classical composers rather than Emanuel Bach.

Even if 1940s composers were influenced, it would center on Johann Sebastian Bachʼs strict counterpoint and formal elements, with few cases of direct inheritance of Emanuel Bachʼs emotionally rich expressive style.

3. Neoclassicism and Bach

20th-century neoclassical music (e.g., Stravinsky and Hindemith) incorporated Baroque and Classical forms while using modern harmonies and rhythms. During this time, Bachʼs music was re-evaluated, primarily focusing on Johann Sebastian Bachʼs contrapuntal elements, with less emphasis on Emanuel Bachʼs empfindsamer Stil.

Conclusion

If BWV 906 were a work composed in the 1940s, it is unlikely that the composer was influenced by Emanuel Bach. Instead, it is more likely that they were inspired by Johann Sebastian Bach or the formal elements of the Baroque and Classical eras. 20th-century music tended to be more influenced by Johann Sebastian Bach and other great composers than by Emanuel Bach.

Asked ChatGPT4o: "I made a mistake. If BWV 906 was composed in the 1740s, could it not be considered influenced by Emanuel?"

If BWV 906 (Fantasia and Fugue in C minor) were composed in the 1740s, it might be possible to consider it influenced by Emanuel Bach, but in reality, the reverse influence is more plausible. That is, Emanuel Bach likely received influence from his father, Johann Sebastian Bach, and later developed his own style (empfindsamer Stil).

1. Emanuelʼs Development Period

Emanuel Bach spent his youth from the 1730s to the 1740s, establishing his foundation as a musician. During this period, he was strongly influenced by his father, particularly learning clavier performance and composition techniques. The “empfindsamer Stil” that Emanuel Bach later developed is thought to have evolved from the emotional expression inherent in his fatherʼs music, into a more free and emotional style.

2. Characteristics of BWV 906 and Historical Context

BWV 906 is characterized by a very free form, improvisational elements, and prominent emotional expression. These features share commonalities with Emanuel Bachʼs empfindsamer Stil, making it seem as if Johann Sebastian Bach was influenced by Emanuel in the 1740s. However, in reality, during this period, Sebastian Bach himself was also responding to new musical trends and exploring free expression.

Particularly, the fantasia form allowed for improvisational and free expression even in Sebastian Bachʼs time, potentially influencing Emanuel Bachʼs empfindsamer Stil. Thus, the free style of BWV 906 is more likely a musical experiment by Sebastian himself, from which Emanuel drew influence.

3. Mutual Influence between Father and Son

By the 1740s, Emanuel Bach had already begun his own compositional activities, but his style was still developing. Therefore, rather than directly influencing his father, it is more plausible that Emanuel was influenced by his father and later established his emotional style.

Johann Sebastian Bach was sensitive to new musical styles even during this period, experimenting with emotional expression and free forms in many works. Emanuel Bachʼs empfindsamer Stil is thought to have developed by inheriting these elements.

4. Musical Trends of the Era

The 1740s were a transitional period from Baroque to Classical music, marked by significant musical changes. Emphasis on emotional expression and formal freedom aligned with the new musical trends of the time, and Johann Sebastian Bach and Emanuel Bach may have mutually influenced each other within this context. However, it is unlikely that Emanuel Bach had a fully established style capable of influencing his father during this period, as he was still in the early stages of development.

Conclusion

Even if BWV 906 were composed in the 1740s, it is more plausible to consider that Johann Sebastian Bach influenced Emanuel, who later developed the empfindsamer Stil, rather than the other way around. While there may have been mutual influence between father and son, Emanuel was still in the process of learning from his father during this period, and his style became established in the subsequent years.

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