This site introduces unknown Emanuel Bach (C. P. E. Bach).
C. P. E. Bachʼs Keyboard Concerto in C Minor, Wq. 31 (H. 441), composed in 1773, is a work that stands out for its dramatic and emotionally rich expression. The first movement begins with a powerful theme characterized by the tension and drama typical of C minor, with lively dialogues between the orchestra and the keyboard instrument. The fast tempo and complex harmonic progressions imbue the entire movement with dynamism. The second movement is a lyrical and introspective slow movement, highlighting the delicate emotional expression typical of the Empfindsamer Stil. The singing melody played by the solo instrument and the rich harmonic changes are particularly striking. The third movement is characterized by a light rhythm and bright atmosphere, providing a fittingly light conclusion for the finale. This concerto is an excellent work that combines the technical performance of the solo instrument with Bachʼs unique musical voice, reflecting his contribution as a forerunner of the Classical period.
The C Minor Concerto Wq 31 (H441) is referred to by Bach as "one of my representative works" and was a piece he frequently performed. Its slow movement imitates the operatic recitativo accompagnato, belonging to Bachʼs most personal works.
The C Minor Concerto (Wq 31) was composed in 1753 in Berlin, about 20 years earlier than Wq 41. It was a favorite piece of the composer himself and has become relatively well-known in modern times. The distinctive slow movement of this piece features a form with a solo keyboard instrument and a ripieno accompaniment by strings, showcasing great originality.
Similar to the instrumental recitative introducing the final movement of Beethovenʼs "Ninth Symphony," this solo section mimics the melodic and rhythmic patterns typical of vocal recitative. However, in this case, highly individual solo passages are incorporated into a ritornello form.
This work is an excellent example of how the solo keyboard instrument maintains a distinct individuality while being closely intertwined with the ripieno. The opening ritornello closes in the dominant key rather than the tonic, creating an unusual instability, with the solo and ensemble alternating.
In the final movement, the solo and ensemble share themes and expressions, with the ritornello appearing as a light dance. This movement provides a sense of relaxation after the tension of the second movement, leading into the next finale. The conclusive harmonic stability in C minor is reached at the end of the movement. In the final movement, a new closing passage is presented with the solo, decisively concluding the work.
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