This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bachʼs "Sonatina" is a particularly accessible collection within his keyboard music, where educational elements and artistic sophistication are seamlessly blended. These works embody the empfindsamer Stil, characterized by simple yet emotionally rich and refined melodies and harmonies. Formally, they are freer than typical sonata forms, often incorporating short movement structures and dance-like elements. The movement structures are diverse, primarily consisting of two to three movements, but sometimes featuring dance-like movements or rondo forms. Each movement is relatively short, with clear motifs and concise structures that enhance their accessibility.
These sonatinas are also suitable as educational material aimed at mastering performance techniques, making them an important repertoire for keyboard learners of the time. However, they are not merely exercises; they are filled with the diverse musical charm unique to Emanuel Bach, with delicate expressions and original harmonic progressions. Often containing improvisational elements, they offer fresh impressions to listeners through free development and unexpected modulations. The use of contrasts in tempo and dynamics particularly reflects the characteristics of the empfindsamer Stil. Additionally, the delicate expressions suited to the keyboard instruments of the time, such as the clavichord and fortepiano, are evident throughout, requiring nuanced performances that take advantage of these instrumentsʼ characteristics.
Emanuel Bachʼs sonatinas possess not only educational value but also sufficient artistry as concert pieces, influencing later composers of the Viennese Classical period. The influence of these sonatinas can be seen in the early works of Mozart and Haydn. Overall, Emanuel Bachʼs sonatinas are a harmonious blend of the delicate and rich expressions reflecting his empfindsamer Stil and the accessible beauty of melody, holding an important place in the development of keyboard music. [Revised explanation by ChatGPT4o.]
The introduction was written by ChatGPT4o.
ChatGPT4o writes as follows (please note that it may not be accurate):
Emanuel Bachʼs Sonatina is a work primarily written for chamber music or small ensembles, characterized by its diversity in form and content. These works generally possess a light and accessible character, yet are equipped with a sophisticated structure and harmonic skill.
The instrumentation often centers around keyboard instruments, with strings or wind instruments frequently added, and the keyboard sometimes taking on a soloistic role. Sonatinas often have short movement structures, adopting a concise and clear style that indicates a transition to Classical sonatas.
In these works, Emanuel Bachʼs characteristic delicate emotional expression, humor, and unexpected modulations are prominent, sometimes including improvisational elements. Sonatinas were also used for educational purposes and influenced later musicians. Their conciseness and depth of expression have endeared them to both audiences and performers.
Emanuel Bachʼs "Sonatina" is an innovative work intended for performance in new forms of concerts independent of the court, composed for public performances where the composer appeared as a soloist. Twelve pieces were composed in a short period from 1762 to 1764, adopting a form different from traditional concertos. For example, the Sonatina in G Major (H. 451/W.98) consists of a slow movement, a fast movement, and a dance in triple meter.
Some sonatinas are characterized by a free structure, using binary or rondo forms instead of the ritornello form. For instance, H. 449/W.96 includes an opening section with a refrain structure starting with a tutti and a middle section featuring a flashy solo. These sonatinas are accessible works aimed at a general audience rather than serious ones, and are considered to have been intended for broader reception than Emanuel Bachʼs concertos.
The year 1762 marked a turning point when C.P.E. Bach began composing works for solo keyboard and orchestra again, with the first works in the new genre of "Sonatina" emerging in this year. The resumption of activity in this year is thought to be due to the revival of concerts in Berlin after the Seven Yearsʼ War and encounters with new keyboard instruments.
After 1762, Bachʼs keyboard writing underwent significant changes, with the range extending to f³ and adopting a more "pianistic" style. This new writing suggests instruments like the fortepiano or tangent piano rather than the harpsichord, and concertos and sonatinas were composed and revised to adapt to this.
Sonatinas are less soloistic than traditional concertos, emphasizing harmony with the orchestra that takes advantage of delicate instrumentation, and are composed with more flexible and dynamic instruments in mind. This new style reflects Bachʼs exposure to new instruments and indicates his musical evolution.
I asked ChatGPT4o: "Why is Emanuel Bachʼs Sonatina in F Major Wq. 64-1 (H. 7) titled ʼSonatinaʼ instead of ʼSonataʼ?"
Regarding why Emanuel Bachʼs Sonatina in F Major Wq. 64-1 (H. 7) is titled "Sonatina" instead of "Sonata," the following possibilities can be considered:
The term "Sonatina" usually means "small sonata" or "concise sonata." Although Wq. 64-1 has a three-movement structure, the length and content of the movements are relatively concise, and it possesses a light and accessible character compared to traditional sonata forms, which may have led to this title.
Sonatinas are often written to be technically easier and are frequently intended for educational purposes or amateur musicians. This work may have been intended to be accessible to a broader range of performers.
The title "Sonatina" can be used for works that do not strictly adhere to the rules of sonata form. This piece may have been distinguished as a "Sonatina" because it includes formally free elements while being based on sonata form.
In Emanuel Bachʼs time, the titles of compositions reflected not only form and structure but also the character and purpose of the music. The title "Sonatina" may suggest that this work has a light and playful character.
The title of a work was sometimes determined by publishers or audience expectations. This piece may have been published as a "Sonatina" if it was judged to have a lighter character than a "Sonata."
Thus, the title "Sonatina" is thought to reflect the workʼs conciseness, character, and intended use at the time. Nevertheless, Wq. 64-1 is a work with fully mature musical value, showcasing Emanuel Bachʼs unique expressiveness and the charm of the empfindsamer Stil.
I asked ChatGPT4o: "What kind of formal freedom does Emanuel Bachʼs Sonatina in F Major Wq. 64-1 (H. 7) include?"
Emanuel Bachʼs Sonatina in F Major Wq. 64-1 (H. 7) is based on sonata form but includes several formally free elements. Here are its characteristics:
In this work, sonata form may not be strictly applied. For example, the treatment of themes in the exposition or recapitulation may not be contrasting, indicating a relaxed approach to the traditional rules of sonata form.
The movements of Sonatina Wq. 64-1 have diverse characters, ranging from light and accessible to introspective and emotionally rich. This change in character between movements gives a more flexible impression than a traditional "Sonata."
This work may incorporate dance-like rhythms or atmospheres in certain movements, indicating a freer character than sonata form and highlighting the lightness of a "Sonatina."
The development section of the sonata form may be omitted or extremely shortened. In this respect, accessibility and an improvisational feel may be prioritized over formal strictness.
The themes of the sonata form focus on short and accessible melodies rather than aiming for dramatic development, giving the entire piece a soft impression.
Harmonic progressions may have a freedom that deviates from traditional expectations, and the treatment of motifs may emphasize melodic ornamentation and improvisational elements over regular development.
As a "Sonatina," the work may aim to convey enjoyment and lightness to the listener rather than being formally strict.
Thus, Wq. 64-1 incorporates sonata form flexibly, allowing for unique sensibilities and improvisational expression by the performer. As a result, it is a work that provides accessibility and enjoyment to both listeners and performers, not just formal completeness.