This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
This piece was originally composed as a flute concerto but was first published as a keyboard concerto.
C. P. E. Bachʼs Keyboard Concerto Wq. 13 (H. 417) is a work composed in 1744, representing one of the key keyboard concertos from his early Berlin period. This piece employs the traditional ensemble of solo keyboard instrument and strings (two violins, viola, and bass), while also expressing C. P. E. Bachʼs unique creativity and the characteristics of the empfindsamer Stil.
The first movement is characterized by a clearly structured theme and a skillfully developed solo part, unfolding vibrant music. The second movement features a quiet and introspective expression, centered on an emotionally rich melody of the empfindsamer Stil. In the third movement, a lively and dance-like rhythm and elegant melody are developed, highlighting the grace of the galant style.
This work excels in the harmony between solo and tutti, with the solo part given an improvisational freedom. Wq. 13 is particularly high in expressiveness and formal completeness among C. P. E. Bachʼs keyboard concertos, occupying an important position that suggests development in his later works.
According to BIS CD 768, in the third movement of the D major Concerto H. 416 (W.13), each soloist section begins by varying the theme of the opening ritornello, clarifying the relationship between tutti and soloist sections, aiding in understanding the overall structure of the movement. On the other hand, in the first movement, instead of repeating the tutti theme, a new soloist theme is presented, which reappears repeatedly, leading to a structure with three solo sections.
I asked ChatGPT4o: "C. P. E. Bachʼs Wq. 13 can be performed with a keyboard instrument or a flute, but is there no separate number assigned to the flute concerto?"
C. P. E. Bachʼs Wq. 13 was originally composed as a Flute Concerto in G minor, but was later arranged by Bach himself into a Keyboard Concerto in G minor. This arranged version also uses the same number Wq. 13. Therefore, separate numbers were not assigned to the flute and keyboard versions.
In C. P. E. Bachʼs catalog, even arranged works are often given the same number, and in some cases, the instrument specification is noted for distinction. Thus, in the case of Wq. 13, whether it is for flute or keyboard instrument needs to be determined by context or records.
If a unique number for the flute concerto is needed, research considering the detailed background of the arrangement or new cataloging might be conducted, but as of now, there is no record of a separate number being assigned to the flute version.
I asked ChatGPT4o: "Wq. 13 is numbered as a keyboard concerto, but why wasnʼt it numbered as a flute concerto?"
The reason why C. P. E. Bachʼs Wq. 13 was not given a separate number as a flute concerto and was cataloged as a keyboard concerto is related to his composition and publication history, as well as the musical conventions of that time. Below is an explanation of the background.
C. P. E. Bach initially composed Wq. 13 as a flute concerto but later arranged it into a keyboard concerto. This keyboard version was published and widely circulated, leading audiences of the time and later musicologists to regard the keyboard concerto version as the primary form. As a result, it was classified as a keyboard concerto in the work catalog (Wotquenne numbers).
In the late 18th century, keyboard instruments were gaining importance compared to flutes and other instruments. Especially C. P. E. Bach, as a pioneer of keyboard music at the time, was highly regarded for his technical and expressive innovations. In line with his activities and market demand, the keyboard version received more attention than the flute version, possibly becoming the basis for numbering.
In Bachʼs work catalog, there is a tendency to prioritize the keyboard version as the original form. While the flute version is the form from which the arrangement originated, the keyboard version was considered the “final form,” and thus was not given a separate number in the catalog.
C. P. E. Bachʼs flute concertos are relatively few (only Wq. 166–168 have clear flute concerto numbers), and these are given unique numbers as they were written specifically for the flute. On the other hand, works like Wq. 13, which have a connection to the keyboard version, were not treated as subjects for separate flute numbering.
During the systematic organization of C. P. E. Bachʼs works from the late 19th to early 20th century (during the compilation of the Wotquenne catalog), the keyboard version was prioritized and recorded. In this catalog, the fact that the keyboard version was widely known was emphasized over whether the original was a flute concerto.
The reason Wq. 13 was numbered as a keyboard concerto and not given an independent number as a flute concerto is due to C. P. E. Bach himself prioritizing the keyboard version, the keyboard version becoming mainstream as a publication, and this trend being carried over during catalog compilation.