This site introduces unknown Emanuel Bach (C. P. E. Bach).
This sonatina was designed for public concerts that were increasing in various cities across Europe. These concerts were held in large venues and were aimed at relatively affluent people, including those with little formal music education. This piece is part of a series of works composed between 1762 and 1764, designed for specific short-term concert situations.
On the surface, it resembles a concerto, but it is based on a smaller two-part form typical of dances and sonatas, rather than the traditional ritornello form. All three movements of this sonatina are in F major, starting with a slow movement, progressing to a fast and bright movement, and then to a moderately paced movement. Particularly in the third movement, the soloist is given a role that requires the most brilliant technique. This movement is composed in a simple and old-fashioned rondo form, beginning as a complete miniature piece with a two-part dance-like structure.
This movement progresses through the elegant triple meter music of two flutes and the striking fortissimo contrast of the full ensemble of strings and wind instruments. This section is presented three times, with the keyboard instrument playing independent parts in between. This part begins as a small piece in F minor but gradually breaks the regularity of the pattern. Sudden interruptions and unexpected tonalities (such as D major) follow, but ultimately the full ensemble is reprised, returning to a reassuring conclusion for the audience.