This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
C.P.E. Bach’s Flute Concerto in D Minor, Wq. 22-1 (H. 484-1) is a dramatic and expressive work, showcasing his distinctive use of contrast, emotional depth, and harmonic boldness. The minor key adds a sense of urgency and intensity, making this concerto one of his most striking contributions to the flute repertoire.
The first movement (Allegro) opens with a powerful and tense orchestral introduction. The flute enters with rapid, virtuosic passages, engaging in a dynamic exchange with the orchestra. The movement follows a ritornello structure, featuring unexpected modulations and dramatic pauses, typical of Bach’s highly expressive style. The intensity of the melodic lines and rhythmic energy create a compelling and engaging atmosphere.
The second movement (Un poco andante) offers a striking contrast, providing a moment of lyrical introspection. The flute sings a delicate, ornamented melody, floating over a soft orchestral accompaniment. This movement embodies the empfindsamer Stil (sensitive style), emphasizing expressive nuances and subtle shifts in dynamics and harmony. The melancholic yet elegant character of the movement deepens the emotional impact of the concerto.
The third movement (Allegro di molto) is a fast-paced and exhilarating finale. The flute’s part is filled with rapid scales, arpeggios, and brilliant passagework, demanding both agility and precision. The orchestral accompaniment reinforces the movement’s driving energy, creating a sense of urgency and excitement. The interplay between soloist and orchestra builds toward a climactic conclusion, leaving a lasting impression.
This concerto exemplifies C.P.E. Bach’s innovative and expressive approach to composition. Its blend of dramatic intensity, lyrical beauty, and virtuosic brilliance makes it a significant and rewarding work in the flute repertoire.
The D minor Concerto H. 425/Wq. 22 (composed in 1747) is the keyboard version of a flute concerto in the same key, with the flute version likely preceding the keyboard version. Recent manuscript research provides compelling evidence that the flute version is the original. The work for flute and orchestra may have been written with the expectation of performance by the royal flutist, though it is equally likely it was intended for another performer. After composing the flute concerto, Bach is thought to have created the keyboard version for his own performance activities. This keyboard version is modest compared to other concertos from the mid-1740s, characterized by the continuous use of strings as accompaniment to the solo instrument.