This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bachʼs Keyboard Concerto in C Major Wq. 43-6 (H. 476) was composed in the 1770s and is one of his keyboard concertos known for its particularly clear and brilliant character. The first movement begins with a bright and energetic theme, with a lively dialogue between the orchestra and the solo instrument. The fast tempo and vivid technique give the entire movement a sense of dynamism. The second movement is a slow movement reflecting the characteristics of the empfindsamer Stil, with an impressive lyrical and poetic melody. The delicate expression of the keyboard instrument brings depth and tranquility to the entire movement. The third movement is a light and rhythmic finale, concluding with the bright sound of C major. The technical passages of the keyboard instrument and the lively accompaniment of the orchestra harmonize exquisitely, adding brilliance to the work. This concerto is a work that maximizes Emanuel Bachʼs mature compositional technique and the potential of the keyboard instrument, captivating listeners with its clarity and expressiveness.
Compared to Bachʼs last concerto (a work for both harpsichord and fortepiano, thought to have been written ten years later), the extreme innovation seen in the works of Wq 43 is hardly present. All movements are based on the traditional ritornello form, with few irregular sections, and the tonal relationships between movements fully adhere to conventional rules. However, the alternation of timbres between the solo and orchestra does not necessarily conform entirely to the conventions of that form.
Particularly noteworthy is the final movement of the G major concerto (Wq 44). This movement begins with an eight-bar phrase played by the solo keyboard instrument, which is immediately repeated by the orchestra. This phrase functions as the "ritornello" of the movement. The insertion of rondo form techniques into the ritornello form in this way demonstrates the characteristic freedom of innovation in the collection published in 1772, also seen in the slow movements.
These works also show Bachʼs intention to bridge the gap between the second and third movements. The slow movement serves to enhance the effect of the final movement. For example, in the D major concerto (Wq 45), the slow movement ends with a sudden two-bar closing section, providing the minimum cadence to start the next movement. In contrast, in Wq 44, the conclusion of the second movement is even more novel, ending with a wandering, modulating closing section written with a diminuendo and pianissimo half cadence.
Contrast between Wq 44 and Wq 45
These two concertos, composed in the same year, have remarkably different characters, demonstrating Bachʼs eagerness to pursue a unique personality with each new work. Wq 44 is entirely in the "galant" style, as seen in the strong reference to rondo form in the third movement. On the other hand, Wq 45 is very direct and clear, lacking decorative elements such as syncopation, Lombard rhythms, and feminine cadences.
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