This site introduces unknown Emanuel Bach (C. P. E. Bach).
Among the works of Carl Philipp Emanuel Bach (C.P.E. Bach), there are several pieces titled "Polonaise." These Polonaises are based on the form and rhythm of the traditional Polish folk dance but incorporate elements of C.P.E. Bachʼs unique *Empfindsamer Stil* (sensitive style) and his distinctive harmonies. Below is an explanation of some representative Polonaises and their characteristics. [Non-Polonaise pieces listed by ChatGPT have been removed.]
1. Triple Meter Rhythm:
The characteristic steady 3/4 rhythm of the Polonaise forms the foundation.
2. Modulation and Ornamentation:
Frequent key changes and delicate ornamentation, typical of the *Empfindsamer Stil*, are utilized.
3. Fusion of Dance Form and Emotional Expression:
The Polish dance form is blended with C.P.E. Bachʼs expressive style and unique harmonic language.
4. Adaptation for Clavichord and Fortepiano:
These Polonaises were composed for the clavichord and fortepiano, instruments that bring out subtle dynamics and nuances.
C.P.E. Bachʼs Polonaises embody the beauty of the *Empfindsamer Stil*, pursuing expressive freedom beyond the traditional dance form. Through these works, listeners can appreciate his individuality and musical richness.
Asked ChatGPT4o: "Telemann and Wilhelm Friedemann Bach also composed Polonaises, but do C.P.E. Bachʼs Polonaises have more Romantic characteristics than theirs?"
C.P.E. Bachʼs Polonaises exhibit more clearly Romantic characteristics compared to those of Telemann and Wilhelm Friedemann Bach. Below are some of these features.
C.P.E. Bachʼs Polonaises, influenced strongly by the *Empfindsamer Stil*, emphasize subtle and introspective emotional expression. While Telemannʼs Polonaises focus on clear rhythmic patterns as dance music and Wilhelm Friedemann Bachʼs often include contrapuntal elements, C.P.E. Bachʼs works stand out for their emotionally rich melodies and unexpected harmonic progressions—traits that foreshadow the Romantic eraʼs emphasis on direct emotional expression.
C.P.E. Bachʼs Polonaises frequently feature tonal instability, sudden modulations, and sophisticated use of non-chord tones. His bold shifts to distant keys and modern harmonic progressions anticipate the harmonic sensibilities of the Romantic period. In contrast, Telemannʼs harmonies are relatively conservative and clear, while Wilhelm Friedemann Bachʼs harmonies remain rooted in Baroque traditions.
C.P.E. Bach transcends the basic 3/4 dance rhythm with rhythmic flexibility and variation. Effective use of tempo changes, ritardandos, and syncopations brings dynamic nuance to his pieces. This flexible rhythmic expression foreshadows Romantic tendencies toward rhythmical freedom.
The melodies in C.P.E. Bachʼs Polonaises are notably lyrical and songlike, elevating them beyond mere dance music into "poetic musical works." This lyrical quality, with a dramatic nature reminiscent of Chopinʼs Polonaises, distinguishes his works from those of Telemann and Wilhelm Friedemann Bach.
C.P.E. Bachʼs Polonaises strongly reflect improvisational elements. His free use of ornaments and variations emphasizes a personal and spontaneous character more than the works of Telemann or Wilhelm Friedemann Bach, hinting at the improvisational nature of later Romantic fantasias and impromptus.
C.P.E. Bachʼs Polonaises, while preserving the traditional dance form, uniquely integrate Romantic characteristics through their depth of emotion, innovative harmonies, lyricism, and improvisational freedom. These qualities give his Polonaises a forward-looking nature that transcends their 18th-century origins.