This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bach Keyboard Concerto in G Major Wq. 34 (H. 444)
1st Movement: Allegro di molto
2nd Movement: Largo
3rd Movement: Presto
ChatGPT4o writes as follows (please note that it may not be accurate):
Emanuel Bachʼs Keyboard Concerto in G Major Wq. 34 (H. 444) is a work composed in 1755, characterized by its bright and lively nature. The first movement begins with a brilliant theme in G major, featuring a dynamic interplay between the orchestra and the keyboard instrument. The fast tempo and vivid melodies infuse the entire movement with energy. The second movement is a slow movement imbued with quiet and deep emotion, well exemplifying the empfindsamer Stil (sensitive style). The solo instrumentʼs singing melody is striking, and the delicate harmonic changes captivate the listener. The third movement is a lively finale, marked by a fast tempo and rhythmic development. The light and technically demanding keyboard passages intertwine with the orchestra, bringing the piece to a splendid conclusion. This concerto is an important work among Emanuel Bachʼs early compositions, reflecting the transition from the Baroque to the Classical period, and showcases his refined compositional skills.
The Keyboard Concerto Wq. 34 was arranged for flute, resulting in the Flute Concerto Wq. 169.
According to the commentary by Jane R. Stevens on Miklós Spányi's CD (BIS-CD-867) (translated by ChatGPT4o):
Of the two concertos that Bach is thought to have composed with Princess Anna Amalia of Prussia (and her domestic organ) in mind, the first was the G major H.444 (Wq.34) composed in 1755, which became one of his most popular concertos, copied many times and eventually arranged by the composer himself for flute. Like the B minor H.440 (W.30) composed in 1753, this work reflects Bachʼs tendency to enhance the individuality of the three movements. In the previous decade, the three movements of his concertos often had different meters and tempos, yet were essentially in the same form and of nearly the same length. The middle movement often had a sentimental character, and the final movement, despite having a stronger dance element than the first, was relatively consistent in musical expression. However, now the first movement is clearly longer and more serious in tone than the others, characterized by a complex structure that depicts a delicate relationship between the solo keyboard and the full string orchestra.