This site introduces unknown Emanuel Bach (C. P. E. Bach).
The Keyboard Concerto in F major, Wq. 12 (H. 415) by Emanuel Bach is a work composed in 1744, and it stands out as one of the most mature pieces among his early Berlin period keyboard concertos. This concerto is based on the traditional ensemble of solo keyboard instrument and strings (two violins, viola, and bass), yet it incorporates unique and sophisticated musical ideas.
In the first movement, following a dramatic introduction, a clear and powerful theme is developed, with the solo part showcasing brilliant and virtuosic performances. The second movement is characterized by introspective and emotionally rich melodies typical of the empfindsamer Stil, leaving a strong impression with its quiet and profound expression. The final movement is dominated by a lively, dance-like rhythm, clearly reflecting the traits of the galant style.
This work is cleverly designed to harmonize the solo and tutti sections, with the solo part containing free and creative elements. Wq. 12 is an important keyboard concerto that marks Emanuel Bachʼs further development in compositional technique and his establishment of a unique identity by incorporating diverse styles.
In the Concerto in F major, H. 414/Wq. 12 (composed in 1744), "following the old-fashioned and powerful opening tutti (characterized by deliberate imitative counterpoint at the beginning and an imposing unison melodic line at the conclusion), the solo enters with a singing melody of a completely different character. Throughout the entire movement, these two musical characters continue to confront each other. In the slow movement, this relationship persists, but in the final movement, the solo is swept into a moment of lively hustle along with the string tutti.
This work, like the accompanied keyboard concertos of his father Sebastian, is composed for solo keyboard instrument and two violins, viola, and ʼbassʼ (likely a part shared by cello and double bass). The string parts were probably played by one or two players per part, suggesting that these concertos might have been performed in relatively large private rooms alongside other small-scale chamber works.