This site introduces unknown Emanuel Bach (C. P. E. Bach).
C. P. E. Bach Sonata VI in D minor, Wq 63-6 (H. 75)
1st Movement: Allegro di molto
2nd Movement: Adagio
3rd Movement: Fantasia: Allegro moderato
ChatGPT4o writes as follows (please note that it may not be accurate):
Emanuel Bachʼs Sonata in D minor Wq 63-6 (H. 75) is one of the works that showcases his unique musical style. This sonata consists of three movements, each expressing different emotions and techniques. The first movement is characterized by a lively and energetic beginning, featuring Bachʼs bold harmonic and rhythmic changes. The second movement demands deep emotion and delicate expression, providing a quiet impact on the listener. The final third movement displays a free form and creative development, highlighting Bachʼs improvisational elements. This sonata illustrates the process of his music bridging to the classical era, significantly influencing later composers.
According to the commentary by Darrell M. Berg on Miklós Spányi's CD (BIS-CD-1189) (translated by ChatGPT4o):
Allegro di molto – F minor – A movement imitating a conversation between two characters. One is characterized by energetic crossing hand movements and a consistent sixteenth-note accompaniment, while the other is softer, more lyrical, and frequently interrupted by eighth and quarter notes.
Adagio affettuoso e sostenuto – A-flat major – A slow movement intended to be played expressively. Bach adds a cadenza without meter at its end.
Fantasia: Allegro moderato – Largo – Allegro moderato – C minor – A movement belonging to the genre known as free fantasy, characterized by a lyrical, unmeasured, and improvisational style. Bach had composed keyboard works in this style before, many of which were likely performed improvisationally and not written down. This final Probestück consists of three parts, with the outer unmeasured sections composed almost entirely of arpeggios, moving from harmony to harmony, often to unexpected ones. The central section is a meditative Largo measured in 3/4 time, yet still filled with rhythmic complexity. This fantasy anticipates the later fantasies in the three Kenner und Liebhaber ("Connoisseur and Lover") collections, which became famous for their expressive quality. In 1767, the poet Heinrich Wilhelm Gerstenberg (1737–1823) was inspired to set two different texts to this fantasy, each to be sung as an accompaniment to the music. One is a paraphrase of Hamletʼs most famous soliloquy, and the other is the words of Socrates as he drinks the cup of poison.