This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bachʼs Keyboard Concerto Wq. 45 (H. 478) in D Major was composed in 1777 and is considered one of his later concertos. This piece, while bright and light-hearted in character, harmoniously combines a refined form with the delicate expressions of the Empfindsamer Stil. The first movement begins with a gentle and approachable theme, characterized by a well-balanced sonata form. The solo instrument and orchestra engage in a close dialogue, highlighting harmonic clarity and rhythmic movement. The second movement is calm and graceful, centered around a lyrical melody. It clearly exhibits Emanuel Bachʼs unique depth of emotion and introspective musical expression. The third movement is a lively and brisk finale, employing the ritornello form. The tempo-driven motifs and the technically demanding solo passages for the keyboard instrument enhance the overall piece, concluding on a bright note. This concerto is designed to be performed on both the harpsichord and early fortepiano, reflecting the transition of instruments at the time. The bright D major tonality and diverse expressions serve as an excellent example of Emanuel Bachʼs mature compositional technique.
Compared to Bachʼs last concerto (a work for both harpsichord and fortepiano, believed to have been written a decade 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 always completely align with the conventions of that form.
These works also demonstrate 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 an abrupt two-bar conclusion, providing the minimal cadence needed to start the next movement. In contrast, Wq 44 features a more novel ending for the second movement, concluding with a wandering, modulating diminuendo and pianissimo half cadence.
Contrast between Wq 44 and Wq 45
Composed in the same year, these two concertos exhibit markedly different characters, showcasing Bachʼs eagerness to pursue unique individuality with each new work. Wq 44 is entirely in the "galant" style, as seen in the strong reference to the 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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