This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bachʼs Keyboard Concerto in D major, Wq. 27 (H. 433), is a work that exemplifies his bright and accessible style, beautifully merging the expressive empfindsamer Stil with classical balance. The first movement, Allegro, begins with a brilliant theme and is based on sonata form. It is characterized by rhythmic vitality and dynamic dialogue between the solo instrument and the orchestra, imparting a bright and positive impression throughout the piece. The second movement, Siciliana, has a calm and pastoral atmosphere, marked by a leisurely 6/8 time signature. In this movement, the keyboard instrument plays a lyrical and delicate melody, fully showcasing the lyricism of the empfindsamer Stil. The third movement, Allegro, is a lively and energetic finale, adopting a clear ritornello form. The alternation between solo and ensemble is vivid, concluding the piece with bright and cheerful music. Wq. 27 is designed to be adaptable to the new keyboard instruments of the time (transitioning from harpsichord to piano), reflecting the musical diversity and technical advancements of Emanuel Bachʼs era. This concerto is particularly popular among his concertos, harmoniously blending brilliance and emotional depth.
Hamburg was a hub for public concerts, offering numerous opportunities for large-scale performances, which prompted Bach to revise the D major Concerto Wq 27 (H433). This concerto was composed in 1750 in Berlin, and the autograph score indicates an ensemble of solo keyboard and string quartet. However, existing copies specify wind instruments such as trumpets, oboes, and timpani as "ad libitum," suggesting they were added as needed for performances.
This expanded version particularly highlights the orchestral brilliance in the fast movements. The galant style and vocal-like phrases are restrained, characterized by leisurely harmonies, frequent unison textures, and "non-melodic" lines, reflecting a style typical of symphonies of the time. When the solo appears in each movement, very different melodic material is used.
The D major Concerto emphasizes the contrasts in style pursued by Emanuel Bach in his Berlin concertos through a diversity of timbre and volume. While it contains elements that would later become prototypes for Mozartʼs concertos, it does not represent a simple evolutionary process but was crafted for expressive and practical purposes. This work exemplifies Emanuelʼs individual approach.
The description by Miklós Spányi in CD (BIS-CD-1587) can be summarized as (translated by ChatGPT4o)The D major Concerto Wq 27 (H433) was initially composed for keyboard and string accompaniment, later embellished with a decorated keyboard part and added wind instruments. Initially, two horns were added, and eventually, two flutes, two oboes, several trumpets, and timpani were included. In the tutti sections, the horns often reinforce the harmony and rhythm, while the flutes and oboes frequently duplicate the high string parts. However, the trumpet parts have been lost, and their absence was noted shortly after Bachʼs death.
The parts for the work were prepared by Johann Heinrich Michel, lacking the trumpet parts, with the horn parts marked as "horn or trumpet." In this series, the decision was made not to reconstruct the missing trumpet parts but to record using the existing wind parts.
Based on the Michel/Westphal/Brussels copies and Bachʼs estate catalog, performances with only strings and horns, or with added flutes in the slow movement, were chosen. Historical evidence from Bachʼs Hamburg concertos suggests that horns were used in the outer movements and flutes only in the central movement.
Additionally, the solo part of Wq 27 has a texture distinct from other concertos of the same period, with harpsichord performance being particularly noted for its excellence. The harpsichord used in this recording was crafted by Jonte Knif and Arno Pelto, based on historical harpsichords. The harpsichord offers a more convincing sound than the fortepiano or tangent piano, effectively highlighting the characteristics of this work.
Performance Examples: