This site introduces unknown Emanuel Bach (C. P. E. Bach).
One of Emanuel Bachʼs most ambitious projects was the collection of "Six Easy Harpsichord Concertos." This was published by Bach himself and offered in the form of a subscription sale. The project was first announced in the fall of 1770 and was subsequently re-announced in various journals. It was emphasized that these pieces were "easy" and intended to be particularly suited to the nature of the harpsichord, both in the harpsichord and accompaniment parts. All the ritornello sections were written out in the keyboard part, allowing them to be played without accompaniment. Additionally, the solo sections included written-out cadenzas and ornamented slow movements.
By early 1771, it was reported in newspapers that Bach had completed these six pieces, and they were announced to be published by Easter of the following year. Bach contracted with the Berlin printer Georg Ludwig Winter, who had previously published some of Bachʼs works, but Winter fell seriously ill in early April 1772 and passed away between late April and early May. As a result, his wife took over the printing business. Despite this delay, the entire collection was eventually published in October 1772. This publication included 149 subscribers, among whom were notable musicians from Berlin and figures such as Charles Burney and Baron Gottfried van Swieten.
The publication also included parts for wind instruments (as reinforcement), with two horns added to all movements except the first concerto. Additionally, a flute was used in the slow movement of the first concerto. Bachʼs efforts to make this collection as marketable as possible are evident not only in the assurance of "ease" but also in its particular suitability for the harpsichord, which was the most common instrument in upper-middle-class households from the 1760s to the 1770s. The harpsichord was more common than the new piano, louder, and more suitable for playing with large ensembles.
These concertos differ in many ways from Bachʼs earlier keyboard concertos. While the earlier concertos were almost all intended for Bachʼs own use, these concertos had modest technical demands, making them relatively easy for keyboard players to perform. The accompaniment parts were also adapted for amateur performers and large performance settings. This avoided the rhythmic complexity seen in the Berlin period concertos, adopting a simpler galant style.
Simplification is also seen in the keyboard parts, with many vocal gestures and inflections reduced. While independent thematic material was used in earlier concertos, in these works, the solo sections use material introduced in the tutti sections, with rapid figuration being predominant. Bach aimed to create works that were approachable for both performers and audiences by avoiding chromatic progressions and adopting simple and regular phrasing.
As a result, these concertos are particularly appealing, characterized by dance-like rhythms and accessible melodies. They also demonstrate formal freedom and adventurousness, with innovative attempts within the traditional concerto form. Notably, the fourth concerto (in C minor) has a unique structure where the fast ritornello-form movement is divided, with a short movement inserted. This movement begins with a piano solo, transitions unexpectedly to a slow movement, and finally returns to the ritornello form. This structure provides unity to the entire work.
Emanuel Bachʼs music is said to foreshadow the music of mature Beethoven, but Bachʼs own aim was to satisfy both "amateurs" and "professionals." These concertos were appealing to audiences of the time and demonstrated the composerʼs originality and capacity to surprise.