This site introduces unknown Emanuel Bach (C. P. E. Bach).
The Keyboard Concerto Wq. 7 (H. 410) by Emanuel Bach is a work composed in 1740, symbolizing one of the concertos from his early Berlin period. This piece prominently showcases the transition from the North German style to the Galant style, reflecting the development of his compositional techniques. While it employs the traditional ensemble of solo keyboard instrument and strings (two violins, viola, and bass), its content is distinctive.
In the 1st movement, the solo does not reproduce the theme presented by the strings, instead showcasing the unique and technical patterns characteristic of the keyboard instrument. The 2nd movement unfolds an improvisational and emotionally rich melody based on the Empfindsamer Stil, highlighting an introspective beauty. The 3rd movement features lively and graceful dance-like music, emphasizing the characteristics of the Galant style.
In this concerto, the solo and tutti are smoothly connected, with strong contrasts in musical ideas being subdued. It is an important piece that conveys the maturity of Emanuel Bachʼs unique style and expression, indicating the direction of his later works during the Berlin and Hamburg periods.
In the 1st movement of the A major H. 410/Wq. 7 (composed in 1740), the solo does not present the initial theme of the strings in its original form, but instead, in its first appearance, showcases unique technical patterns specific to the keyboard instrument. The solo emerges as an expressive voice in the 2nd movement, demonstrating improvisational ability. In the 3rd movement, it harmonizes with the strings in an elegant and refined dance.
In this early Berlin period concerto, Emanuel adopts techniques typical of German and Italian concerto composers of the time, avoiding strong contrasts in musical ideas between the string group and the solo harpsichord. The solo harpsichord did not deviate significantly from the example presented by the strings. Traditionally, the solo part of a concerto was composed of somewhat elaborate ornamental patterns to utilize the performerʼs technical abilities, occasionally referencing the melodic material presented by the string tutti at the beginning. However, Emanuel Bach seemed to have a special interest in the musical relationship between these two elements since his student days.
This work, like his father Sebastianʼs accompanied keyboard concertos, is composed of a solo keyboard instrument and two violins, viola, and "bass" (likely a part duplicated by cello and double bass). The string parts were likely performed by one or two players per part, suggesting that these concertos might have been performed in relatively large private rooms along with other small-scale chamber music works.