This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bachʼs Keyboard Concerto in F Major, Wq. 42 (H. 470), composed around 1770, is a work that blends the transitional style towards the Classical period with Emanuel Bachʼs unique empfindsamer Stil. The first movement begins with an energetic and clear theme, developing into a dynamic dialogue between the keyboard and the orchestra. The solo sections are notable for their brilliant technique and rhythmic development. The second movement is a calm and graceful slow movement, characterized by poetic melodies and delicate harmonic expressions. The keyboard instrument plays a singing melody, creating a serene and introspective atmosphere. This movement reflects the depth of Emanuel Bachʼs emotional expression. The third movement is structured as a lively and rhythmic finale, highlighting the virtuosic performance of the solo instrument. The light rhythm and bright melody unify the entire piece, captivating the listener. This concerto demonstrates Emanuel Bachʼs mature compositional skills and his adept use of the expressive capabilities of the keyboard instrument.
[Compared to Wq 41,] the F Major Concerto Wq 42 (H470) follows a more traditional form and employs a more conservative musical language.
The "F Major Concerto (Wq 42)" is a work with a significantly different character from the "E-flat Major Concerto (Wq 41)" composed around the same time. This concerto was likely conceived as a concerto for unaccompanied keyboard instrument during Bachʼs Berlin period, but was arranged with string and horn accompaniment after his move to Hamburg. This suggests that Bach was actively participating in public concerts in Hamburg.
In particular, the style of the first movement is suited for performance in large rooms with many performers, reflecting the characteristics of the new public concerts of the time. These concerts included both professional musicians and amateurs, but the rapidly changing rhythms and textures found in Bachʼs galant style works from the 1740s and 1750s were likely challenging for amateurs to handle.
On the other hand, the leisurely harmonic changes and repetitive figurative patterns in the opening material of this work are noted to be very effective in the performance environment. For listeners familiar with Bachʼs early concertos, this work will appear as an easily understandable and attractive piece.
This "F Major Concerto" possesses a unique individuality, distinct not only from other concertos of the same period but also from his final concertos.