This site introduces unknown Emanuel Bach (C. P. E. Bach).
The Keyboard Concerto Wq. 4 (H. 406) by C. P. E. Bach is one of his early works, composed in 1738, and is characterized by the fusion of the North German style with the new galant style. This concerto is influenced by the musical styles prevalent at the court of Frederick the Great, featuring refined melodies and lively rhythms throughout.
In the 1st movement, a gentle melody unfolds over a stable bass, characterized by a flowing progression. The 2nd movement stands out for its introspective and lyrical expression, showing the influence of the empfindsamer Stil. The final movement has a dance-like character, emphasizing a lively and elegant atmosphere.
In this work, C. P. E. Bach emphasizes the harmony between the solo keyboard instrument and the strings, avoiding excessive contrast in musical ideas. The smooth integration of solo and tutti sections demonstrates the early stage of his concerto writing, forming a foundation that would be further developed in his later works. Wq. 4 is particularly noted for its elegance among his early concertos.
The Concerto H. 406/Wq. 4 in G Major by C. P. E. Bach was composed just one year after H. 405/Wq. 3, yet it possesses entirely different musical characteristics. While H. 405 relied on the North German style, H. 406 incorporates the contemporary Italian style that was popular at the court of Frederick the Great. The entire work exhibits the light and graceful qualities of the galant style, with the 1st movement featuring a gentle melody over a stable bass and the 3rd movement employing flowing dance-like patterns. The solo part avoids flashy techniques, characterized instead by restrained and elegant expression.
In this concerto, the solo and string tutti are smoothly integrated, intentionally avoiding strong contrasts in musical ideas. This relationship is expressed through the soloʼs faithful adherence to the melodic material presented by the strings, cooperating with minimal friction. This musical approach reflects Emanuelʼs interest in the relationship between solo and strings from his student days, which was partially continued in subsequent concertos, although later works evolved towards giving the solo more individuality.
The instrumentation of H. 406/Wq. 4 consists of a solo keyboard instrument, two violins, a viola, and a "bass" that may include both cello and double bass. The string parts are performed by one to two players per part, suggesting a small chamber music format, likely performed in relatively large private rooms alongside other chamber music works.