This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
ChatGPT4o writes as follows (please note that it may not be accurate):
Emanuel Bachʼs Sonatina in D Major Wq. 109 (H. 453) is a work that showcases his creativity and diverse expressiveness. This sonatina consists of eight movements, each with a distinct tempo and mood. The first movement offers a lively beginning, while the second movement unfolds with a calm and lyrical melody. The subsequent third movement has a slightly more animated motion, and the fourth movement returns to a fast tempo with a Presto. The fifth movement again possesses a quiet beauty, and the sixth movement features the rhythm of an elegant dance. The seventh movement is full of lively energy, concluding with the eighth movement in Tempo di minuetto. This piece is a series of miniatures that allow one to enjoy Bachʼs diverse musical expressions.
Movements:
The Sonatina in D Major (Wq 109) is divided into eight short movements, structured into two longer sections based on the rondo form. The first section consists of fast dance-like movements and ariosos, while the final section is closer to the traditional ABA form, with a particular emphasis on dance elements. This work was designed with the 18th-century Berlin audience in mind and features characteristics typical of Emanuel Bachʼs sonatinas.
The soloists intertwine while maintaining independence, complementing each other, with particular attention to the scenes where two keyboard instruments play together. Additionally, the Double Concerto in E-flat Major (Wq 47), composed by Emanuel in his later years, is a rare work written for harpsichord and fortepiano, believed to have been patronized by Sara Itzig Levy.
Sara Levy was born into a prominent Jewish family, possessed musical talent, and was the only student of Wilhelm Friedemann Bach. Her collection of scores included many works by the Bach family, particularly those of Emanuel Bach. There was a culture of enjoying music within the family, and it is possible that she and her sisters performed these works together.
Emanuelʼs Double Concerto skillfully utilizes the different timbres of the solo instruments, reflecting the characteristics of his Hamburg period. A diverse orchestral arrangement, including horns, flutes, and strings, is used, with a wide range of expressions developed in the keyboard solo sections. These elements position this work as the conclusion of the series.