This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bachʼs Keyboard Concerto Wq. 5 (H. 407) is an early work composed in 1739. It is based on the North German style, yet it also reflects a transition towards the galant style. This concerto employs a solo keyboard instrument accompanied by strings (two violins, viola, and bass), adhering to the traditional concerto form of the time.
The first movement features a powerful introduction, followed by a contrapuntal development of the melody, highlighting the solid structure. The second movement is notable for its lyrical and introspective expression, characteristic of the empfindsamer Stil, with a melody that conveys deep emotion. The final movement has a lively and bright dance-like character, exuding an overall lightness.
In this work, the relationship between the soloist and the string tutti is skillfully balanced, indicating Emanuel Bachʼs particular interest in the harmony between solo and accompaniment. Despite being an early work, Wq. 5 shows signs of maturity and is an important piece that foreshadows the development of his later free-form and expressively rich style.
From the late 1750s to the 1760s, Berlin was destabilized by the Seven Yearsʼ War, leading to the suspension of court salaries and the exodus of citizens, which restricted C.P.E. Bachʼs musical activities. During this period, he composed only one keyboard concerto, but a new concert format emerged that did not rely on the court or nobility, and Bach adapted to this through the composition of symphonies. These symphonies, intended for public performance, featured large ensembles including horns and flutes, influencing his concertos as well.
After the E-flat major concerto (H. 446/Wq. 35) in 1759, the addition of horn parts marked the fusion of symphonic and concerto genres. Meanwhile, the C minor concerto (H. 407/Wq. 5) was revised in 1762 and continued to be performed. This work is characterized by galant style melodies, yet similarities with the E-flat major concerto have been noted, illustrating the impact of Bachʼs symphonic experience on his later concertos.
The description by Miklós Spányi in CD (BIS-CD-868) can be summarized as (translated by ChatGPT4o)The year 1762 was significant as C.P.E. Bach resumed work on compositions for solo keyboard and orchestra. During this year, he composed a new genre called the Sonatina and revised previous concertos. This resumption was likely driven by the revival of concert life in Berlin after the Seven Yearsʼ War, the necessity to present new works, and encounters with new keyboard instruments.
After 1762, his keyboard writing underwent significant changes, expanding beyond the traditional harpsichord range and adopting a more "pianistic" style. This change suggests the influence of instruments like the fortepiano and tangent piano, and revisions of his works show adaptations to these new instruments. In the Sonatina, the keyboard instrument plays a delicate role in harmony with the orchestra, requiring an ensemble particularly suited to early pianos.