This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bach Keyboard Concerto in E Major (Concerto in E Major) Wq. 14 (H. 417)
1st Movement: Allegro
2nd Movement: Poco adagio
3rd Movement: Allegro assai
ChatGPT4o writes as follows (please note that it may not be accurate):
Emanuel Bachʼs Keyboard Concerto Wq. 14 (H. 417) is a work in E major composed in 1744, and it is one of the representative keyboard concertos from his Berlin period. This concerto consists of three movements and is characterized by its clear and brilliant music. In the first movement, an energetic and approachable theme is presented, with the keyboard instrument and orchestra engaging in a skillful dialogue. Based on sonata form, the lively rhythm and bright tonality give the music a sense of dynamism. The second movement is a slow movement distinguished by its lyrical and emotionally rich melody, well reflecting the empfindsamer Stil. The final movement is based on a rondo form, featuring technical passages for the keyboard and rhythmic development that are captivating. This concerto reflects Emanuel Bachʼs unique expressiveness and pioneering elements of classical music, enchanting listeners with its bright tonality and technical brilliance. Among his keyboard concertos, it is particularly approachable and highly effective in performance.
According to the commentary by Jane R. Stevens on Miklós Spányi's CD (BIS-CD-785) (translated by ChatGPT4o):
The form of the third movements of H. 414/Wq. 11 and H. 417/Wq. 14 shares many similarities with H. 422/Wq. 19. Particularly in the E major concerto (H. 417/Wq. 14), the quick interplay between strings and keyboard combines with the lively dance rhythm to create a vibrant finale. However, the opening movements of these three works proceed in entirely different ways. In each movement, the solo sections, upon their first appearance, assert themselves as musically distinct from the preceding string group. Although possibly related to the opening gesture of the tutti, they are clearly different. In each of these movements, a lively and often repetitive yet sometimes stimulating opening ritornello is followed by the solo, which seems to declare a more individual and delicate character.