This site introduces unknown Emanuel Bach (C. P. E. Bach).
The Cello Concerto Wq. 170 was arranged into the Flute Concerto Wq. 166 and the Concerto for keyboard instruments Wq. 26. In this way, Emanuel Bach often adapted existing works to suit specific instruments.
ChatGPT4o writes as follows (please note that it may not be accurate):Emanuel Bachʼs Keyboard Concerto Wq. 26 (H. 430) is a work written in A minor. This piece belongs to his "Berlin period" and is characterized by its dramatic nature and expression of the empfindsamer Stil. The first movement is in sonata form, with a powerful theme and unstable harmonies creating tension, while the solo sections highlight the keyboardʼs virtuosity. The second movement is a slow movement, with a lyrical and introspective atmosphere, where ornamental melodies draw out emotional depth. The third movement is a lively rondo form, with dynamic rhythms and contrasting episodes that leave a strong impression. The key of A minor lends a dramatic color to the work, and throughout, Bachʼs innovative musicality is prominently displayed. Notably, the exquisite interplay between the soloist and the orchestra makes this piece a standout among his concertos.
Similar to H. 434 (Wq. 28) and H. 437 (Wq. 29), the A minor Concerto H. 430 (Wq. 26) was written in 1750, and exists in both cello and flute versions. It is known that all three of these works were originally composed as cello concertos and later arranged for flute or keyboard performers. (H. 425 [Wq. 22] was written three years earlier, and in this case, a similar arrangement was made for a flute concerto.)
The identity of the cellist for whom the A minor concerto was written, or the performer who first played the flute version, remains a mystery. It is also unclear who the intended performer of this keyboard concerto was. The figuration (ornamental patterns) is slightly refined for keyboard instruments, but the solo sections remain relatively simple compared to other concertos of the time, suggesting that this arrangement may have been written for a performer other than the composer himself.
Performance examples: