Christian Emanuel Bachʼs Collection of Character Pieces

ChatGPT4o writes as follows (please note that it may not be accurate):

Christian Emanuel Bachʼs collections of character pieces, Wq. 117 and Wq. 118, are exemplary works of the Empfindsamer Stil (Sensitive Style) for keyboard instruments. These collections showcase his improvisational and emotionally rich compositional techniques, condensing deep emotions and delicate nuances into short forms. Wq. 117, known as *Kleine Stücke für Clavier* (*Little Pieces for Keyboard*), consists of 18 pieces with various characters. While incorporating dance forms such as the minuet and polonaise, these pieces are distinguished by expressive melodies and richly varied harmonic progressions. Despite their short performance times and approachable nature, they demonstrate inventive use of ornamentation and key treatment.

On the other hand, Wq. 118 is titled *Sechs Claviersolo* (*Six Solos for Keyboard*) and features slightly longer compositions. Each piece merges Baroque elements with Classical structures, with particularly notable improvisatory passages and freely developed harmonies. Additionally, the emotional expression varies widely, ranging from serene atmospheres to dramatic scenes.

These collections not only showcase the diverse styles of C.P.E. Bach but also demand a high level of expressive skill and technical ability from performers. Especially when played on the clavichord, the pieces allow for subtle emotional expression through delicate variations in dynamics and touch. Today, these works are recognized as significant repertoire that bridges the Baroque and Classical eras.

According to the commentary by Jane R. Stevens on Miklós Spányi's CD (BIS-CD-1097) (translated by ChatGPT4o):

[C.P.E. Bach composed music known as "character pieces."] These pieces became widely known in the early 18th century through French harpsichordist and composer François Couperin (1668–1733), who composed them to depict specific individuals or characteristics. In these "character pieces," the music often reflected human personality and behavior. For instance, they were sometimes used to interpret distinctive traits like particular ways of walking or facial expressions.

Couperin himself stated in the preface to his *Pièces de clavecin* (*Harpsichord Pieces*), published in 1713: "I composed each of these pieces with a purpose. Each title corresponds to the idea I had in mind. However, these titles also serve to please me, and I intend to express that they are all faithful to my delightful originals."

C.P.E. Bach also had a strong interest in the French "character pieces" and composed 27 titled keyboard pieces between 1754 and 1758. These works were modeled after the tradition popularized throughout Europe by Couperin. Each piece was given a title based on a particular "delightful original." Some of his works clearly show the influence of Couperin and Jean-François Dandrieu (1682–1738).

One particularly intriguing piece among C.P.E. Bachʼs character pieces is *La Xenophon et la Sibylle* (H. 123 Wq. 117/29). It is believed that the distinct sound of this piece may have been influenced by the different tunings of keyboard instruments in the mid-18th century, later adapted to the more familiar key of E major.

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