Homepage > ★C.P.E. Bachʼs Musical Works > C.P.E. Bachʼs Keyboard Solo Works > Solo Collection Wq. 62 > Sonata in E Major Wq. 62/17

This site introduces unknown Emanuel Bach (C. P. E. Bach).

C. P. E. Bach Sonata in E Major Wq. 62/17 (H. 117)

• 1st Movement: Allegro
• 2nd Movement: Andante
• 3rd Movement: Allegretto

ChatGPT4o writes as follows (please note that it may not be accurate):
Emanuel Bachʼs Sonata in E Major Wq. 62/17 (H. 117) is a work that blends delicate emotional expression with innovation, consisting of three movements. The first movement unfolds a sophisticated melody within a lively tempo, featuring vivid modulations and unexpected progressions that are highlights of the piece. Emanuel Bachʼs characteristic free thinking infuses the entire movement with dynamism. The second movement possesses a calm and lyrical atmosphere, with soft melodic lines and rich harmonies that depict introspective emotions. The third movement concludes with a familiar melody repeated in a lively rhythm, full of brilliance and vitality. Performing on the clavichord accentuates the subtle dynamics and nuances, allowing for a deeper enjoyment of the pieceʼs rich expressions. This sonata symbolizes the charm of Emanuel Bachʼs keyboard music, where formal clarity and creativity harmonize.

"The Sonata in E Major Wq. 62/17 (H. 117) was composed by Bach in 1757 and first published in the 12th volume of the anthology series ʼŒuvres mélées contenant VI sonates pour le clavecin de tant de plus célèbres compositeurs rangés en ordre alphabétique (1765),ʼ edited by Johann Ulrich Haffner. This sonata demonstrates the unique keyboard style Bach developed in the 1750s. The first movement ʼAllegroʼ features elegant and expressive melodies, with quirky developments that are characteristic of Bach. The abundance of detailed dynamic markings in the score suggests that this work was composed with the clavichord in mind. The second movement ʼAndanteʼ also has an elegant and winding melody. The third movement ʼAllegrettoʼ is based on frequently appearing lively melodic motifs, often followed by sudden bursts of rhythm known as ʼLombardic rhythmʼ (a dotted rhythm where a short note precedes a long note).

The structure of Emanuel Bachʼs sonatas owes much to the binary form of dance movements, similar to other sonatas of the time. In its simplest form, this structure consists of two sections, with the first half being tonally ʼopenʼ and the second half ending in the home key. Like other contemporary composers, Bach extended the second half and incorporated a ʼrecapitulationʼ to emphasize the return to the home key, developing this form into a ʼroundedʼ binary form. All three movements of the Sonata in E Major Wq. 62/17 feature this ʼroundedʼ binary form, which Bach adopted in many of his first movements and keyboard sonatas.

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

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