This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bachʼs Keyboard Concerto in E-flat Major, Wq. 35 (H. 446), composed in 1759, is characterized by its elegance and harmony. The first movement begins with a lively yet calm tempo, presenting a bright and festive theme by the orchestra and solo instrument. The solo sections highlight the keyboardʼs technical passages and delicate expressions. The second movement is a slow movement filled with deep emotion, prominently influenced by the empfindsamer Stil. Its gentle tempo and flowing melody create a meditative and poetic atmosphere. The third movement is a bright and lively finale, with a fast tempo and energetic rhythm that tighten the entire piece. The brilliant keyboard technique and the light orchestral accompaniment harmonize beautifully, bringing the work to a vibrant conclusion. This concerto is significant as it demonstrates Emanuel Bachʼs mature style and paves the way for classical keyboard concertos.
From the late 1750s to the 1760s, Berlin was destabilized by the Seven Yearsʼ War, leading to the suspension of court salaries and the exodus of citizens, which restricted C.P.E. Bachʼs musical activities. During this period, he composed only one keyboard concerto, but a new concert format emerged that did not rely on the court or nobility, and Bach adapted to this through the composition of symphonies. These symphonies, intended for public performance, featured large ensembles including horns and flutes, influencing his concertos as well.
After the E-flat Major Concerto of 1759 (H. 446/Wq. 35), the integration of horn parts and the fusion of symphonic and concerto genres progressed. Meanwhile, the C minor Concerto (H. 407/Wq. 5) was revised in 1762 and continued to be performed. This work is noted for its galant style melodies, yet similarities with the E-flat Major Concerto have been pointed out, indicating the influence of Bachʼs symphonic experience on his later concertos.
The description by Miklós Spányi in CD (BIS-CD-868) can be summarized as (translated by ChatGPT4o)The year 1762 marked a significant period when C.P.E. Bach resumed composing works for solo keyboard and orchestra. During this year, he composed a new genre, the Sonatina, and revised previous concertos. This resurgence was likely driven by the revitalization of concert life in post-war Berlin, the necessity to present new works, and encounters with new keyboard instruments. After 1762, his keyboard writing underwent significant changes, expanding beyond the traditional harpsichord range and adopting a more "pianistic" style. This shift suggests the influence of instruments like the fortepiano and tangent piano, with adaptations in revised works to suit these new instruments. In the Sonatina, the keyboard plays a delicate role in harmony with the orchestra, requiring an ensemble particularly suited to early pianos.
Spányiʼs performance: