This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bach Keyboard Concerto in E minor (Concerto in E minor) Wq. 15 (H. 418)
1st Movement: Allegro
2nd Movement: Adagio
3rd Movement: Vivace
ChatGPT4o writes as follows (please note that it may not be accurate):
Emanuel Bachʼs Keyboard Concerto Wq. 15 (H. 418) is a work in E minor composed around 1745, representing a dramatic and emotionally rich concerto from his Berlin period. This piece consists of three movements, characterized by the tension and deep emotional expression typical of minor keys. The first movement presents a dynamic and dramatic theme, with the keyboard instrument and orchestra intricately intertwined. Based on sonata form, the changes in harmony and rhythmic innovations add dynamism to the music. The second movement centers on a lyrical and introspective melody, highlighting the delicate emotional expression characteristic of the empfindsamer Stil. The final movement is based on a rondo form, maintaining the drama of the minor key while unfolding in an energetic and technically demanding manner. This concerto demonstrates Emanuel Bachʼs maturity in emotional expression and compositional technique, indicating his role in leading the transition to Classical music. It is a powerful and dramatic piece that leaves a deep impression on the audience.
According to the commentary by Jane R. Stevens on Miklós Spányi's CD (BIS-CD-786) (translated by ChatGPT4o):
In the second movement of H. 418/Wq. 15, the soloist enters the tutti theme and almost immediately joins the imitation and counterpoint led by the first violin. As the solo melody adds more delicate and sensitive ornamentation, the bass supports with a stable and regular rhythm, highlighting the ornamentation and counterpoint in the upper parts. Despite the "Vivace" tempo of the final movement, the first and third movements of this 1745 work do not differ as much in character as H. 429/Wq. 25. Both possess an intense drive established by the string tutti, primarily supported by the solo keyboard instrument. While the soloist uses the tutti material as a starting point, the string insertions often feel as if they abruptly interrupt the solo passages.
Miklós Spányi writes in CD (BIS-CD-786) as follows (translated by ChatGPT4o):
The E minor concerto (H. 418/W. 15) is one of the most complex and technically challenging works among Carl Philipp Emanuel Bachʼs concertos, undoubtedly composed for his own public performances. As a result, it was scarcely known during the 18th century, and very few sources survive. Like many other concertos, this one underwent extensive revisions at various times, though the exact timing of these revisions is unknown. Among the surviving sources, the autograph score represents the most recent (probably final) version. This early version already includes keyboard elements suggesting that Bach envisioned some form of piano when composing this work. The arpeggiated chords in the final movement (significantly expanded in later versions), the demand to raise the dampers, and the abrupt changes between forte and piano in the second movement are difficult to convincingly reproduce on a harpsichord.