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★C.P.E. Bachʼs Musical Works >
Unpublished Keyboard Concertos by C.P.E. Bach
This site introduces unknown composer Emanuel Bach (C. P. E. Bach).
This English version was translated from Japanese one by ChatGPT.
Unpublished Keyboard Concertos by C.P.E. Bach
ChatGPT4o asked: "Are there any keyboard concertos by Emanuel Bach that he did not publish?"
Among Emanuel Bachʼs keyboard concertos, there are several works that he did not publish during his lifetime. While he chose to publish some of his keyboard concertos, not all of them were published. In particular, among the many concertos classified by Wq numbers, some were left as manuscripts during his lifetime and were later published by others.
Emanuel Bach wrote many works, and some concertos were kept for personal use according to the time of composition or purpose, and were likely used for concerts or educational purposes. Later, musicologists and publishers rediscovered these works, leading to their publication and recording, which helped them gain wider recognition.
For example, keyboard concertos Wq. 3 and Wq. 10 are part of the concertos he did not publish.
ChatGPT4o asked: "What is the difference between the published and unpublished works?"
There are several differences between the keyboard concertos that Emanuel Bach published and those he did not publish during his lifetime. These differences are mainly related to the following factors:
1. Differences in Period and Style
- Emanuel Bachʼs early keyboard concertos (for example, Wq. 1 - Wq. 6) were composed before the classical style was fully established, showing influences from the transitional period from the Baroque style. These are his early works, and the concertos he published are often later works with a more refined style. In his later years, more concise and expressive works became mainstream, and these works were published according to his intentions.
- The published concertos are formally and structurally clear, with a more mature musical approach. On the other hand, some unpublished works retain more experimental structures and unique styles.
2. Purpose and Demand
- The works that Emanuel Bach published were often those widely performed at concerts or written for educational purposes. The published works were particularly popular in the cities where he conducted significant musical activities (Berlin and Hamburg) and within the musician community.
- The unpublished concertos may have been written for specific occasions or personally used by him for particular concerts. Additionally, some works may have been complex in notation or not well-received by the audience at the time.
3. Commercial Considerations
- Publishing was a costly and labor-intensive process, and as a composer, there was an economic risk involved. Emanuel Bach may have carefully selected his publications. Among the works he did not publish, there might have been those that were not expected to be commercially successful or had low demand in the market at the time.
- The published works generally conformed to popular forms (such as the concerto form) and styles of the time, and were likely those he felt confident in presenting.
4. Personal Preferences and Evaluation
- Among the unpublished works, there may have been those that Emanuel Bach himself was not satisfied with or did not consider important. He had a strict self-evaluation, and even after completing some works, he might have felt they were not worthy of publication.
- The published works are centered around those he felt were the most complete and widely acceptable.
5. Availability of Scores
- Some of the unpublished concertos were discovered after Emanuel Bachʼs death. Since they were kept as manuscripts without being published at the time, they were rarely performed during his lifetime.
These factors intertwined to determine which concertos Emanuel Bach chose to publish and which he did not.
ChatGPT4o asked: "Was there a significant time gap between composition and publication?"
In the case of Emanuel Bachʼs keyboard concertos, there were many instances where there was a significant time gap between composition and publication. The timing of the publication of his works throughout his life involved several factors, leading to time differences between composition and publication for certain works. The reasons for this include the following factors:
1. Process from Composition to Publication
- Many of Emanuel Bachʼs keyboard concertos were composed during his time serving Frederick the Great in Berlin (1740-1768), but publication often occurred during his later years in Hamburg (after 1768). For example, the keyboard concertos of Wq. 43 were composed around 1767 but were published in the 1770s after he moved to Hamburg [some sources suggest they were composed in 1771]. Thus, there were cases where works from the Berlin period were collectively published during the Hamburg period, with time gaps ranging from several years to over a decade.
2. Timing of Publication and Professional Circumstances
- Since Emanuel Bachʼs duties were centered around the Berlin court, he had limited time to devote to publishing activities. After moving to Hamburg, he was able to compose more freely and focused on publishing his music. Therefore, until he moved to Hamburg, some works were likely kept in an unpublished state after being composed.
3. Economic Situation and Publishing Costs
- At the time, publishing oneʼs works required costs, and composers had to bear the risk. Emanuel Bach may have delayed publication due to economic reasons. Among the concertos he composed, there might have been a need to assess whether there was sufficient demand for publication. Particularly, he actively pursued publication during his economically stable period in Hamburg, which influenced the timing of publication.
4. Evaluation of Works and Necessity of Publication
- Emanuel Bach was a composer who carefully evaluated his works. He may have delayed publication until a work met his standards. Additionally, works frequently used in concerts were published quickly, while those composed for specific purposes but not widely released took longer to be published.
5. Posthumous Publication
- Some concertos, although not published during Emanuel Bachʼs lifetime, were discovered after his death and later published. For example, early concertos like Wq. 3 and Wq. 4 were not published during his lifetime but were restored and published by later musicologists.
Representative Examples:
- Wq. 43 (a collection of keyboard concertos) was composed in 1767 and published around 1770, with a gap of several years between composition and publication. [Some sources suggest it was composed in 1771]
- Wq. 17 (Concerto in C major) was composed around 1765, but he published it several years later in the 1770s. [Some sources suggest it was composed in 1745]
Thus, many of Emanuel Bachʼs keyboard concertos were published several years after composition, with the timing of publication determined by economic and professional circumstances and changes in his compositional style.
ChatGPT4o asked: "While the publication of Emanuel Bachʼs keyboard solo works seemed to be profitable, what about his concertos?"
The publication of Emanuel Bachʼs keyboard solo works is said to have been profitable and successful, but the situation was somewhat different for his concertos. The publication of concertos was not necessarily profitable and may not have been as commercially successful as solo works. The reasons for this include the following factors:
1. Market Demand
- Compared to keyboard solo works, concertos required a larger ensemble (orchestra) for performance, limiting the audience that could purchase and perform the scores. In an era where home music and individual performances were central, solo works likely had broader demand.
- Keyboard concertos were primarily needed for public performances or specific occasions, and their demand was mainly for concert use, which may have resulted in slower sales compared to solo works.
2. Difference in Production Costs
- The scores for concertos included multiple parts (orchestral parts) compared to solo works, resulting in higher printing costs. This increased the initial investment required for publication, necessitating substantial sales for cost recovery.
- Additionally, the composition of concertos required a larger ensemble, and even though he had many opportunities to perform concertos throughout his life, achieving commercial success with them may have been challenging.
3. Different Target Audience
- Keyboard solo works targeted many amateur musicians and people who enjoyed home performances, appealing to a wide market. In contrast, keyboard concertos were mainly used by professional musicians, advanced players, or for public performances, with demand limited to specific audiences.
- Emanuel Bach himself may not have been as proactive in publishing concertos as he was with solo works. He was confident in publishing solo works and built a certain economic foundation through their success, but he may have been more cautious about publishing concertos. Concertos were often written for concert use, and he may not have expected them to achieve commercial success.
Thus, the publication of Emanuel Bachʼs keyboard concertos did not achieve the same level of commercial success as his keyboard solo works, and whether they were profitable may have varied depending on the work.