This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bachʼs Keyboard Concerto Wq. 11 (H. 414), composed in 1743, stands out for its uniqueness and expressiveness among his early Berlin period keyboard concertos. This concerto employs a solo keyboard instrument and strings (two violins, viola, and bass), and while it is based on the traditional concerto form, it actively incorporates new styles.
The first movement begins with a brilliant introduction featuring flashy brass and percussion, followed by a solo part that develops into technical phrases. The second movement centers on a lyrical melody with deep emotion, prominently displaying the characteristics of the empfindsamer Stil. In the third movement, music with a light and dance-like character unfolds, expressing the elegance of the galant style.
This concerto is characterized by the exquisite balance between the solo and orchestral tutti, while the solo part unfolds freely and creatively. The flashy arrangement in the first movement, in particular, demonstrates Emanuel Bachʼs innovativeness, making Wq. 11 one of the most attractive and diverse works among his keyboard concertos.
The two collections of keyboard sonatas published by Emanuel Bach in 1742 and 1744 were aimed at serious amateurs with advanced technical skills and musical understanding, and they were well-received. This success prompted Emanuel to decide to publish a keyboard concerto with string accompaniment (H. 414/Wq. 11) in 1746. This concerto also achieved a certain level of success, and by the mid-1750s, Emanuel Bachʼs fame had greatly increased. The fact that the London music publisher John Walsh published this concerto and other works (such as H. 417/Wq. 14) as pirated editions is evidence of his fame in an environment where copyright laws did not exist at the time.
The third movements of H. 414/Wq. 11 and H. 417/Wq. 14 form lively finales with their brisk dance rhythms and quick exchanges between strings and keyboard. Meanwhile, the first movements of these works each have unique progressions. The opening ritornello of the tutti is full of energy, and amidst frequent repetitions, the solo sections exhibit an individual and delicate nature, clearly distinct from the character of the tutti. In this way, these works demonstrate a uniqueness that transcends the musical trends of the time, showcasing Emanuel Bachʼs innovativeness and expressiveness.