This site introduces unknown Emanuel Bach (C. P. E. Bach).
The Keyboard Concerto Wq. 40 was arranged from the Oboe Concerto Wq. 165.
ChatGPT4o writes as follows (please note that it may not be accurate):Emanuel Bachʼs Keyboard Concerto in E-flat Major Wq. 40 (H. 467) is a work arranged for keyboard from the Oboe Concerto Wq. 165, and it stands out for its clarity in the galant style and its refined melodic beauty. The first movement begins with a bright and lively theme, developing into a vibrant interplay between the orchestra and the keyboard instrument. The solo sections feature technically demanding passages for the keyboard, with a light rhythm that enlivens the entire movement. The second movement is a lyrical and calm adagio, heavily reflecting the empfindsamer Stil. The keyboard instrument plays a melody with delicate ornamentation, creating an introspective atmosphere filled with deep emotion. The third movement is structured as a lively and elegant finale, showcasing the virtuosic technique of the keyboard instrument. This work is a brilliant fusion of the melodies inherited from the original oboe concerto and the characteristics of the keyboard instrument, exemplifying Emanuel Bachʼs high level of arrangement skill.
Particularly notable is the increased interest in large-scale continuity throughout the work, as seen in the form of the second movement titled Adagio ma non troppo in C minor. In this movement, the clear ritornello form expected not only in fast movements but also in slow ones is weakened. The second tutti section is very short, limited to the opening part of the first ritornello, and the third ritornello is almost omitted, reduced to a simple tutti insertion in the middle of the long final solo section. However, most remarkable is the final part of the tutti, which ends in E♭ major instead of reaffirming C minor. This key had not appeared earlier in this movement and is used to transition smoothly into the final movement.
Particularly notable is the increased interest in large-scale continuity throughout the work, as seen in the form of the second movement titled Adagio ma non troppo in A minor. In this movement, the clear ritornello form expected not only in fast movements but also in slow ones is weakened. The second tutti section is very short, limited to the opening part of the first ritornello, and the third ritornello is almost omitted, reduced to a simple tutti insertion in the middle of the long final solo section. However, most remarkable is the final part of the tutti, which ends in E-flat major instead of reaffirming C minor. This key had not appeared earlier in this movement and is used to transition smoothly into the final movement.