This site introduces unknown composer Emanuel Bach (C. P. E. Bach).
This English version was translated from Japanese one by ChatGPT.
C. P. E. Bach Sonata VI in F 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):
Carl Philipp Emanuel Bachʼs Sonata in F minor, Wq 63-6 (H. 75), is a work that showcases his creativity
and emotional richness. The first movement is marked by a powerful and passionate melody, filled with energy
that draws the listener in. The second movement follows with a deeply emotional and introspective atmosphere,
distinguished by its quiet beauty. The third movement features a free form and a richly varied development,
offering surprising turns that captivate the listener. This sonata embodies the emotional breadth of C. P. E.
Bach’s music and his innovative compositional techniques.
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.