This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
Carl Philipp Emanuel Bach (1714–1788) played a significant role in the development of sonata form, particularly showcasing his innovation in keyboard sonatas and concertos. His sonata form does not fit entirely within the typical Classical form, yet its pioneering features influenced the music of subsequent generations.
1. Diversity of Emotion (Empfindsamer Stil) Emanuel Bachʼs sonata form is heavily influenced by the “sensitive style” (Empfindsamer Stil), which emphasizes emotional expression. In his keyboard sonatas, sudden modulations and dynamic changes that express contrasting emotions are particularly characteristic.
2. Free Development of Themes Beyond the clear contrast between the first and second themes in traditional forms, themes are often freely varied. In the exposition, short motifs are frequently repeated and further dissected and developed in the development section.
3. Flexibility of Tonality His sonata form exhibits great freedom in tonality, with bold modulations not only to the dominant key but also to remote keys, reflecting his improvisational nature.
4. Improvisational Development Section Emanuel Bachʼs development sections have an improvisational character, where themes are not only varied and ornamented but also new ideas are inserted.
5. Changes in the Recapitulation In the recapitulation, rather than merely repeating the exposition, new elements are added, or themes are reproduced in different forms, preventing the form from becoming fixed.
1. Keyboard Sonata Wq. 48 The “Prussian Sonatas” and “Württemberg Sonatas” are notable for their emotional expression and innovation, demonstrating the evolution of sonata form.
2. Concerto Wq. 11 His keyboard concertos also employ sonata form, characterized by the dialogic role distribution between the solo instrument and the orchestra.
3. Symphony Wq. 183 In his symphonies, a more expanded sonata form is adopted, with even more dramatic tonal movements.
Emanuel Bachʼs sonata form symbolizes the transition from the Baroque to the Classical period, particularly influencing later composers like Haydn and Mozart with its free development and diversity of emotion. His innovative form is an essential element in understanding the musical styles of the mid-18th century.
Emanuel Bach added improvisational and rich emotional expression to the traditional sonata form, developing it in a flexible and individualistic manner. As a result, his music became an important foundation for the next generation of composers.
The Wikipedia entry on "History of sonata form" states the following (translated by ChatGPT4o).
The old Italian sonata form is significantly different from the later sonata form found in the works of Viennese Classical composers. Between the two, an intermediate form appeared in the works of composers from the Mannheim school (such as Johann Stamitz, Franz Xaver Richter, and C.P.E. Bach).
Key elements that led to the development of sonata form include the weakening of the distinction between binary and ternary forms, the transition of texture from full polyphony to monody (a main melody supported by harmony), and the increasing emphasis on the juxtaposition of different keys and textures. As tonal relationships gained more concrete meaning, the structure of works changed. Techniques like the false reprise fell out of favor, and other patterns gained importance.
C.P.E. Bach is considered one of the most influential composers in the early development of sonata form. He applied the harmonic and contrapuntal techniques developed by his father, J.S. Bach, to a monodic style, maintaining dramatic tonal and mood changes while preserving overall coherence.
C.P.E. Bach had a decisive influence on Joseph Haydn. One of C.P.E. Bachʼs enduring innovations was to shorten themes into motifs and shape them more dramatically in the pursuit of development. By around 1765, C.P.E. Bachʼs themes had evolved from long melodies to the style of themes used in sonata form—short, distinctive, and flexible. Bach laid the groundwork for composers like Haydn and Mozart by linking thematic changes to the harmonic function of movements.
I asked ChatGPT4o: “What is a ʼfalse repriseʼ?”
A “false reprise” or “false recapitulation” refers to a section in sonata form that appears to be the recapitulation before the actual recapitulation occurs. This technique was mainly used in works from the pre-Classical era or its transitional period, creating an illusion for the audience that the recapitulation has begun, only to subvert expectations, thereby generating surprise or tension.
Appearance of Recapitulation-like Material
In a false reprise, themes or materials from the exposition appear, and the tonality or melody may sound like a recapitulation.
Different Tonality
In a typical recapitulation, themes are reproduced in the home key (the initial tonality), but in a false reprise, they are reproduced in a different key (such as the dominant or parallel key), revealing later that it is not the true recapitulation.
Quick Return to Development or Developmental Material
A false reprise is usually brief, often followed by new development or further material development.
The false reprise is an example of the flexibility of early sonata form, and while it gradually fell out of favor in the strict sonata form of the Classical period, it remains an interesting technique that showcases the creativity of composers.
I asked ChatGPT4o: “In which pieces did Emanuel Bach use false reprises?”
Carl Philipp Emanuel Bach was an innovative composer who utilized the characteristics of early sonata form and the empfindsamer Stil, employing false reprises to surprise the audience and heighten tension. This technique is particularly evident in his keyboard sonatas and symphonies. Specific examples include the following pieces:
Sonata Wq. 55-1 (H. 244) in A minor
This piece strongly features the empfindsamer Stil, with a section in the development that hints at moving towards the recapitulation, only to continue with unexpected new development, utilizing the effect of a false reprise.
Sonata Wq. 65-23 (H. 186) in F major
In this work, the theme reappears midway through the development, creating the illusion of a recapitulation, but since the tonality does not return to the home key, further development follows.
Emanuel Bachʼs use of false reprises was intended to emphasize the expressive language of the empfindsamer Stil and the dramatic effect of surprising the audience. While not frequently used in his works, when employed, they were highly effective, demonstrating his freedom and experimental approach in both form and emotional expression.
For more detailed study of specific pieces, consulting scores and scholarly literature can provide further insights into these examples.
I asked ChatGPT4o: "Could the audiences of the time discern complex forms like those including false reprises?"
Whether audiences of the time could discern complex forms including false reprises depends on considering the musical literacy of the audience and the context of the musical culture of the time.
In the 18th century, especially among those who appreciated the works of composers like Emanuel Bach, there were many musically sophisticated individuals.
Music at the time was seen not just as entertainment but as a venue for intellectual stimulation and emotional expression.
The empfindsamer Stil music of Emanuel Bachʼs era emphasized appealing to the audienceʼs emotions. Therefore, even if false reprises were not formally understood, audiences might have reacted in the following ways:
To discern false reprises, one needed to understand the following elements:
Not all audiences of the time fully understood this, but many likely enjoyed the formal changes and tonal surprises.
When Emanuel Bach used false reprises, some audiences likely understood and enjoyed them intellectually, while others enjoyed the tension and dramatic effects on an emotional level. It is likely that music experts and enthusiasts fully appreciated the complex mechanisms, while the general audience felt their impact emotionally.
I asked ChatGPT4o: "The sonata form with false reprises seems similar to ritornello form in that themes are repeated multiple times. Could it be that audiences familiar with ritornello form found it easier to accept?"
Indeed, the sonata form with false reprises and the ritornello form share the commonality of themes being repeated multiple times. Therefore, audiences familiar with ritornello form might have found it easier to accept the developed form of sonata form and false reprises. Here is a detailed explanation.
Ritornello form, used especially in Baroque concertos, is characterized by the repetition of a theme (ritornello). In contrast, sonata form, which developed in the Classical period, shares the following similarities and differences:
18th-century audiences were very familiar with ritornello form, especially through Baroque concertos (such as those by Vivaldi and Corelli). Therefore, they likely had little psychological resistance to forms where themes were repeated multiple times.
In sonata form with false reprises, themes may be temporarily reprised and then developed again. This familiar element of “theme repetition” akin to ritornello form provided audiences with a sense of familiarity, while the unexpected developments offered freshness.
False reprises may have had the following effects on audiences familiar with ritornello form:
Audiences familiar with ritornello form likely found it easier to accept sonata form with false reprises. Particularly in works like those of Emanuel Bach, which utilized the familiarity of ritornello form while incorporating the dramatic expression of the empfindsamer Stil and the novelty of sonata form, it is believed that they brought great emotional impact and intellectual interest to audiences of the time.
While ritornello form and sonata form may seem different, they share musical continuity, and Emanuel Bachʼs role during this transitional period was extremely important.