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This site introduces unknown Emanuel Bach (C. P. E. Bach).

Arrangements from Keyboard Concertos to Concertos for Other Instruments

Many of Carl Philipp Emanuel Bachʼs concertos were arranged for multiple instruments, including keyboard instruments, flute, and oboe. These works were often adapted to be performed on various instruments rather than being composed exclusively for a specific one.

For example, many of C.P.E. Bachʼs flute concertos and oboe concertos were originally composed as keyboard concertos and later arranged for flute or oboe. This approach reflects the fact that keyboard instruments (such as the clavichord or harpsichord) were Bachʼs primary compositional focus. Arranging his works for other instruments allowed him to broaden performance opportunities.

Order of Composition

In most cases, the keyboard concertos were composed first and subsequently arranged for flute or oboe to suit specific performers or performance occasions.

This practice demonstrates Bachʼs flexibility in adapting to the diverse musical market and performance environments of his time. By arranging works for different instruments, he aimed to reach a wider audience.

Correspondence Between Keyboard Concertos and Other Instrumental Concertos

Below is a summary of how C.P.E. Bachʼs flute and oboe concertos correspond to his keyboard concertos.

Flute Concertos

1. Flute Concerto in D Minor Wq. 22 [Wq. 22-1] (H. 425 [H. 484-1])

   • Based on the Keyboard Concerto: Wq. 23 (H. 427) in E-flat Major [Wq. 22 (H. 425)]
   • This flute concerto is arranged from the original keyboard concerto, with changes in key.

2. Flute Concerto in G Major Wq. 169 (H. 445)

   • Based on the Keyboard Concerto: Wq. 34 (H. 432) in G Major
   • Arranged without changing the key.

3. Flute Concerto in A Minor Wq. 166 (H. 431)

   • Based on the Keyboard Concerto: Wq. 35 (H. 418) [Wq. 26 (H. 430)] in A Minor
   • Arranged in the same key.

4. Flute Concerto in B-flat Major Wq. 167 (H. 436)

   • Based on the Keyboard Concerto: Wq. 32 (H. 430) [Wq. 28 (H. 434)] in B-flat Major
   • Both key and structure remain largely unchanged.

Oboe Concertos

1. Oboe Concerto in F Major Wq. 164 (H. 466)

   • Based on the Keyboard Concerto: Wq. 40 (H. 455) in F Major [Wq. 39 (H. 465) in B-flat Major]
   • Adapted with ornamentations and passages suitable for the oboe.

2. Oboe Concerto in G Minor [in B-flat Major] Wq. 165 (H. 468)

   • Based on the Keyboard Concerto: Wq. 26 (H. 430) in G Minor [Wq. 40 (H. 455) in F Major]
   • Key is maintained, but the piece is adapted to the oboe’s range and characteristics.

Common Traits and Background

• These flute and oboe concertos were primarily arranged from previously composed keyboard concertos.
• Arrangements often involved adding ornamentation and arpeggios to suit the distinct sound and technical features of the flute or oboe.
• In some cases, the key was altered to better accommodate the new instrument.

C.P.E. Bachʼs cello concertos were also frequently adapted from his keyboard concertos, following a similar pattern of arrangement.

Cello Concertos

1. Cello Concerto in A Minor Wq. 170 (H. 432)

   • Based on the Keyboard Concerto: Wq. 26 (H. 430) in A Minor
   • The structure remains consistent, with adaptations for the celloʼs technique and range. The key of A minor is preserved.

2. Cello Concerto in B-flat Major Wq. 171 (H. 436)

   • Based on the Keyboard Concerto: Wq. 28 (H. 433) in B-flat Major
   • Adapted with passages and ornamentation specific to the cello.

3. Cello Concerto in A Major Wq. 172 (H. 439)

   • Based on the Keyboard Concerto: Wq. 29 (H. 438) in A Major
   • The overall structure is nearly identical, with optimizations for the cello.

Background of the Cello Concertos

• Many of Bachʼs cello concertos were adapted from his keyboard concertos.
• The keyboard concertos were composed first, later rearranged for specific occasions or cellists.
• At the time, the cello was expanding in technical and expressive capacity, meeting the growing demand for such adaptations.

Additional Notes

In arranging for the cello, C.P.E. Bach often retained the original key of the keyboard concerto. Adjustments to phrasing and ornamentation were made to highlight the celloʼs lyrical qualities.

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