This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bachʼs Keyboard Concerto in G Major, Wq. 43-5 (H. 475), is a work with a highly unique structure, prominently featuring elements of the Empfindsamer Stil. The first movement begins with a slow introduction, where tense harmonies and melodies create a dramatic atmosphere. The subsequent Presto section contrasts with its rapid tempo and lively development. The second movement is meditative and introspective, with melodies unfolding gently, expressing deep emotions. The poetic ornamentation of the keyboard harmonizes with the overall tranquility of the movement. The third movement diverges from a typical finale, pursuing emotional depth within a calm tempo. Changes in harmony and subtle nuances in melody maintain tension throughout, bringing the piece to a close. This concerto significantly deviates from traditional concerto form, highlighting Emanuel Bachʼs innovation and introspective expressiveness.
[After moving to Hamburg] Despite the heavy responsibilities of producing church music, Bach continued to compose numerous instrumental works, particularly for keyboard instruments with strings. Just over three years after moving to Hamburg, he composed the "Six Easy Harpsichord Concertos" (Wotquenne Catalog No. 43), specifically designed for his own publication. Like many of his keyboard works at the time, these pieces were aimed at sophisticated amateur performers. Bach offered this music to many subscribers who purchased it in advance, and he publicly apologized when publication was delayed due to printing issues.
Like the first four pieces in this collection, the fifth and sixth pieces are immediately appealing works characterized by a bold challenge to the conventions of the concerto ritornello form. The usual three movements are connected without interruption, linked by "bridge" transitional sections that prepare for the new movements.
Details of the Fifth Concerto (Wq 43/5)
In the fifth concerto, the connections between movements are constructed as an essential part of the work, going beyond mere bridging. The first movement begins with a slow introduction. The final solo section of this movement does not reach a typical conclusion but is followed by a brief, inconclusive orchestral section. This section prepares for the reintroduction of the introduction, now with the addition of the solo keyboard and two flutes. One might expect the final reprise of the opening ritornello, but in fact, this introduction serves as the ritornello for the middle movement. The same six-bar section functions as the opening for both the first and second movements, and its reprise not only unifies the entire work but also explores the potential for new musical material.
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