C. P. E. Bach Suite in E Minor, Wq. 62-12

I. Allemande
II. Courante
III. Sarabande
IV. Menuet I - II - III
V. Gigue

ChatGPT4o writes as follows (please note that it may not be accurate):
Emanuel Bachʼs Suite in E minor, Wq. 62-12, is a work that shines with his unique sensibility while being based on the traditional dance forms of the Baroque era. Comprising five movements, the first movement, Allemande, unfolds with a gentle and graceful melody, characterized by delicate harmonies. The following Courante is marked by its lively rhythm and flowing melody, with a brisk tempo that energizes the piece. The third movement, Sarabande, is notable for its slow tempo and deeply emotional melody, showcasing the beauty of the empfindsamer Stil. The Menuet I - II - III presents a series of dances with differing characters, offering a rich variety of listening experiences. The final Gigue is characterized by its fast tempo and lively rhythm, bringing the suite to a bright conclusion. When performed on the clavichord, this suite highlights the subtle nuances of ornamentation and dynamics, allowing one to enjoy the diverse expressions of the music. It is a masterpiece that, while inheriting the traditions of the Baroque, allows one to appreciate Emanuel Bachʼs innovative spirit.

According to the commentary by Darrell M. Berg on Miklós Spányi's CD (BIS-CD-1189) (translated by ChatGPT4o):

"The style of this suite contrasts with other works included in this volume. By the time Bach was appointed to the Prussian musical establishment in 1741, keyboard suites had already become outdated. The early version of this suite exists as a manuscript from the 1750s, and from this manuscript, it is evident that Bach revised especially the first two movements during the ten years from composition to publication. In both the early and later versions, the French ʼstyle briséʼ (a technique of breaking up various harmonic voices to compensate for the decay of sound on keyboard instruments by constantly moving one voice or another) is imitated.

The first movement, ʼAllemande,ʼ is much more complex, employing the style brisé more thoroughly than the other movements, maintaining a consistent sixteenth-note motion. This movement features many expressive chromatic harmonies and melodic leaps. The ʼCouranteʼ is also written in style brisé but appears to have a three-voice texture. However, two of these voices (not always the same ones) move in the same rhythm and interval, losing their independence, resulting in a two-voice movement. The ʼSarabandeʼ has a style similar to J. S. Bachʼs two-part inventions, with each voice imitating the other. There are three ʼMenuets,ʼ each with a different style. The first Menuet shows Emanuel Bachʼs characteristic rhythmic instability, with sudden changes in rhythm and bursts of dotted notes. The second Menuet is in the parallel key of E major, composed almost entirely of flowing repeated notes. The third Menuet features a simple melody mainly in quarter notes, accompanied by running eighth notes. The final movement, ʼGigue,ʼ has a lively style with two voices imitating each otherʼs entries."

For an overview of Wq. 62 as a whole, see the Sonata Collection Wq. 62 .

Markovina I. Allemande