This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bachʼs Keyboard Concerto in E-flat Major Wq. 41 (H. 469), composed in 1769, is characterized by its structural ingenuity and expressive style. The first movement features a unique form of Largo – Prestissimo – Largo – Prestissimo, where slow introductions alternate with rapid sections. The Largo sections resonate with solemn harmonies, while the Prestissimo sections unfold with dramatic and energetic developments. This movement exemplifies the fusion of his empfindsamer Stil and early Classical style. The second movement is a lyrical and deeply introspective slow movement, where the keyboard instrument plays a singing melody, marked by rich harmonies and profound emotions. The delicate balance between the soloist and the orchestra is a highlight of this movement. The third movement is a lively and spirited finale, characterized by its brilliant melodies and rhythms. The virtuosic passages of the solo instrument stand out, infusing the entire movement with vitality. Overall, this concerto demonstrates Bachʼs mature compositional technique and emphasizes his individuality.
The **Concerto in E-flat Major Wq 41 (H469)** is one of Bachʼs most pioneering and experimental achievements in the concerto genre, combining traditional concerto elements with the characteristics of his sonatinas from the 1760s into a "modern" work. It includes a solo keyboard instrument surrounded by a Mozartian accompaniment ensemble, crafted for both connoisseurs and general audiences.
It is believed that Emanuel Bach composed the "Concerto in E-flat Major (Wq 41)" a year after his arrival in Hamburg and performed it himself for a new audience. This work is notable for its rich instrumentation, including horns, two flutes, and two independent viola parts, suggesting a larger orchestra than his Berlin concertos.
The first movement begins not with the usual fast forte opening theme but with a leisurely introduction by muted strings and flutes. This introduction develops into a long, ornamented recapitulation with trills, quoting the introduction again in the latter half, but modulating to the dominant key instead of the tonic. In this way, Bach weaves his unique formal innovations throughout the work, from the first to the third movement, providing a sense of unity to the entire piece.
The second movement, "Largo," features an innovative structure where the viola, typically playing a supporting role in concertos, takes on the main melody. This melody is reinforced two octaves higher by the flute, while the violins only mark the end of phrases with pizzicato. The conclusion of the second movement does not return to the expected ritornello; instead, the strings and flute introduce a new phrase, returning to E-flat major in an open-ended manner, preparing the transition to the third movement.
The third movement begins as a light and graceful dance, with the strings removing their mutes and playing a short new closing phrase with the soloist, accompanied by a clear resonance. This structure builds the second movement as a preparation for a smooth transition into the third movement, showcasing Bachʼs formal innovations throughout.
At the Katharinen Church, Gotze delivered a Latin speech titled "On the Celestial Harmony (De harmonia coelesti)" during a ceremony, to which Bach responded with a Latin speech titled "On the Most Noble Purpose of the Art of Music (De nobilissimo artis musicae fine)."
Bachʼs duties in Hamburg were similar to those his father had at the St. Thomas Church in Leipzig. As the cantor of the Johanneum (equivalent to a modern gymnasium), he was required to conduct daily singing lessons for senior students and teach music theory and music history. Additionally, as the music director of Hamburgʼs five city churches (St. Nicholas, St. Catherine, St. James, St. Peter, and St. Michael), he was responsible for the weekly church music. He was also expected to compose music for major religious events such as Christmas, Easter, Pentecost, and Michaelmas, as well as for special occasions like the installation of new pastors. Furthermore, he had to provide Passion music annually (Matthew in the first year, Mark in the second, and so on, repeating every four years), which was part of his duties.
The demands of his new position seemed to leave little time for the compositional activities he had devoted himself to in Berlin, but he managed to create time. He delegated teaching duties to one of the singers and incorporated a significant amount of sacred music by contemporary composers, borrowing many of the 21 Passion music pieces from Telemann, Gottfried August Homilius, his own father, and occasionally himself. Despite this, Bach was able to dedicate himself to organizing secular concerts and composing in his preferred genres.
Just a year after arriving in Hamburg, he is believed to have composed a new keyboard concerto and performed it himself for a new audience. This work, the Concerto in E-flat Major (Wq 41), indicates that Bach continued to explore new paths in the concerto genre. The instrumentation of this work suggests a larger orchestra and audience, intended for performance in a hall.
While Johann Sebastian Bachʼs "Italian Concerto" is the most well-known example, the composer arranged this piece in Hamburg as a version for keyboard instrument with reinforcement from strings and horns. This suggests that he was actively participating in performance activities in his new residence. The style of the first movement of this work is particularly suited for performance with a large number of performers in a large room, reflecting the characteristics of the new public concerts of the time.