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

Treatment of Repetition in Emanuel Bachʼs Works

I asked ChatGPT4o the following question: "It is said that Emanuel Bach disliked having identical performances repeated when using repeat signs in sheet music, so he abandoned repeat signs and wrote out the music in full. In which pieces and in what parts did he do this?"

An example of Emanuel Bach avoiding repeat signs and writing out music in full is one of the distinct features of his compositions. He often employed this technique to prevent identical performances from being repeated. Specific examples include the following:

1. Movements in Sonata Form: In sonata form movements, Emanuel Bach sometimes added new ornamentations or variations to avoid simple repetitions in the development or recapitulation sections.
• Example: In some of his piano sonatas, the development section before the recapitulation presents the same theme in different keys or rhythms with variations written out.
2. Movements with Improvisational Elements: He was particularly inclined to avoid repetitions in movements with improvisational characteristics.
• Example: In some movements of the "Prussian Sonatas" for harpsichord, phrases are continuously developed with new material and ornamentation, avoiding exact repetition.
3. Addition of Ornamentation: He added new ornaments or variations to repeated sections to avoid identical performances.
• Example: In the "Berlin Sonatas," many ornaments are added to the repeated sections, making the music on the score sound different upon each iteration.

This approach by Emanuel Bach emphasizes the unique improvisational and diverse nature of his music, setting him apart from other composers of his time. For more detailed insights into specific scores and movements, it would be beneficial to refer to collections of Emanuel Bach’s works or specialized scholarly studies.

"Please provide specific examples of ʼmovements in sonata formʼ where this occurs."

Examples of Emanuel Bach avoiding repeat signs and writing out music in full in sonata form movements include the following:

From C.P.E. Bachʼs "Prussian Sonatas"

Sonata No. 1 in C Minor, Wq. 48/1

In the first movement, Allegro assai, the development and recapitulation sections present the same theme in different keys with varied ornamentation. Specifically, the development section modulates and introduces new motifs, and in the recapitulation, these are varied and reintroduced.

From C.P.E. Bachʼs "Berlin Sonatas"

Sonata No. 5 in B-flat Major, Wq. 55/5

The second movement, Adagio, features delicate ornamentation that changes with each repetition. This ensures that the sections are not mere repetitions but have distinct expressions each time.

From C.P.E. Bachʼs "Hamburg Sonatas"

Sonata No. 3 in A Major, Wq. 60/3

In the first movement, Allegro, the development section revisits the theme in different keys with added new ornamentation. Similarly, the recapitulation is crafted with subtle nuances differing from the initial presentation.

These specific examples demonstrate how Emanuel Bach avoided repeat signs and ensured that each section conveyed a fresh expression. His scores clearly show how much variety and ornamentation were incorporated into his music.

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