This site introduces unknown Emanuel Bach (C. P. E. Bach).
ChatGPT4o writes as follows (please note that it may not be accurate):
Emanuel Bachʼs "Wq. 43" is a collection of six symphonies for keyboard instruments and strings, showcasing his compositional technique and innovation. In this collection, the keyboard instrument plays a prominent soloist role within the orchestra, requiring a brilliant and expressive performance. "Wq. 43" is filled with characteristics representative of his "sensitive style," featuring delicate melodies, unexpected harmonic developments, and dramatic contrasts. Each symphony possesses its own unique character while maintaining a sense of unity, with the dialogic structure between the keyboard and string instruments being particularly captivating. This collection is an important work that demonstrates Emanuel Bachʼs achievement in inheriting the tradition of his father, Sebastian Bach, while pioneering new musical horizons. "Wq. 43," which fuses keyboard solos with a chamber music-like orchestra, is a masterpiece that brings profound emotion to both performers and audiences.
Emanuel Bachʼs "Six Easy Harpsichord Concertos" (Wq 43) was announced for subscription in 1770. This collection was written for amateur performers, featuring ritornellos, ornamented slow movements, and cadenzas in the keyboard parts, and can be performed without accompaniment. It was reported completed in 1771 and published in 1772, though there was a delay due to the death of the printer, Winter. At the time of publication, 149 subscribers were recorded, including notable figures and musicians from Berlin. The collection also includes parts for horns and flutes for reinforcement, used in all movements except the first concerto.
Unlike Bachʼs earlier keyboard concertos, these concertos have modest technical demands, suitable for amateurs and large performance settings. The complex rhythms typical of his Berlin period concertos are avoided, adopting the galant style. The solo sections use material introduced in the tutti sections, focusing on linear figuration. Bach aimed to create works that were approachable for both performers and audiences by avoiding chromatic progressions and adopting simple, regular phrasing.
These concertos maintain accessibility with dance-like rhythms and melodies, while also incorporating formal freedom and adventurousness. Particularly, the fourth concerto (in C minor) features a form not seen in Bachʼs other concertos, with a fast ritornello movement divided by other short movements. This movement begins with a piano solo, transitions unexpectedly to a slow movement, and ultimately returns to the ritornello form, providing unity to the entire work.
Emanuel Bachʼs music is noted for foreshadowing the music of the mature Beethoven, yet Bach himself aimed to satisfy both "amateurs" and "connoisseurs." These concertos were appealing to audiences of the time, showcasing the composerʼs originality and capacity to surprise.
[A more detailed translation closer to the original text is also available.]The introduction was written by ChatGPT4o.