This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bach Keyboard Concerto in B-flat Major Wq. 25 (H. 429)
1st Movement: Allegro di molto
2nd Movement: Largo mesto
3rd Movement: Prestissimo
ChatGPT4o writes as follows (please note that it may not be accurate):
The Keyboard Concerto Wq. 25 by Emanuel Bach is a work in B-flat major composed around 1745, showcasing his mature musicality during his Berlin period. It consists of three movements, with the first movement employing a sophisticated sonata form, where the dialogue between the keyboard instrument and the orchestra unfolds intricately. The second movement possesses a lyrical and calm atmosphere, highlighting the delicate expression of the empfindsamer Stil. The final movement is characterized by its rhythmic and accessible melody, based on a rondo form, yet exploring diverse tonalities in its episodes. This concerto well represents Emanuel Bachʼs unique sense of harmony and dramatic structural ability, positioning it as an important work during the transition to Classical music. It is a compelling piece that blends brilliance with introspective expression.
According to the commentary by Jane R. Stevens on Miklós Spányi's CD (BIS-CD-786) (translated by ChatGPT4o):
The concerto H.429/Wq.25, composed in 1749 and published with Schmidt in Nuremberg in 1752, appears to have been one of Bachʼs most popular concertos throughout the 18th century, judging by the number of manuscripts and prints. The first movement of this B-flat major work is highly effective and "serious." The powerful unison of the strings in the opening tutti is immediately followed by imitative scale phrases, creating a dense texture full of determination. After joining the tutti in the first section, the solo presents a new theme. This theme is characterized by a typical sighing phrase cadence of a vocal aria with deep emotion, followed by brilliant virtuosic passages. Particularly in the opening phrases, the second movement is adventurous and expressive, with unexpected harmonies and dramatic contrasts between soft and loud. In the second and third tutti sections, the strings add mutes, enhancing the impact of this theme. However, it is likely the final movement that determined the popularity of this work. It is a fast, tumbling dance, where the solo and tutti seem to progress by assisting each other throughout its entirety.