This site introduces unknown Emanuel Bach (C. P. E. Bach).
Emanuel Bachʼs Clavierstücke verschiedener Art Wq. 112 ("Keyboard Pieces of Various Kinds") is a collection of works for keyboard instruments published in Berlin in 1787. Written during the later years of Emanuel Bachʼs life, this collection, as its title suggests, includes pieces in various forms and styles, showcasing his musical diversity.
This collection includes free-form works such as fantasias and rondos, as well as traditional movement forms like allegros and adagios. Some pieces prominently feature characteristics of the Empfindsamer Stil (sensitive style), incorporating delicate emotional expression and improvisational elements. Additionally, the style reflects Emanuel Bachʼs role as a bridge to the Classical and Romantic eras.
Wq. 112 was written with home performance and enthusiasts in mind, making many of the pieces relatively easy to play technically. However, they also contain his unique harmonic and rhythmic innovations, providing musical depth. The scores include detailed ornamentation instructions, revealing the diversity and intent of Emanuel Bachʼs guidance to performers.
This collection achieved commercial success in the Berlin publishing industry of the time, attesting to Emanuel Bachʼs high regard as a composer for keyboard instruments. It also serves as a valuable resource for understanding the evolution of keyboard music in the 1780s.
The introduction was written by ChatGPT4o.
I asked ChatGPT4o: "Are there classical pieces like fugues and Romantic pieces in Wq. 112? Why are these classified under a single opus number?"
The reason why Emanuel Bachʼs Wq. 112 (Clavierstücke verschiedener Art) includes both classical works like fugues and pieces with Romantic characteristics, yet is classified under a single opus number, can be attributed to the following background and purposes.
As indicated by the title of Wq. 112, "Keyboard Pieces of Various Kinds" (Clavierstücke verschiedener Art), this collection is intended to bring together pieces of various forms and styles.
Emanuel Bach may have created Wq. 112 with home performance and educational purposes in mind.
In the late 18th-century publishing market, collections containing various styles were popular.
Emanuel Bach was a composer who pursued the Empfindsamer Stil and improvisational free forms while maintaining respect for the traditional musical language of the Baroque period.
In the publishing practices of the time, it was not uncommon to compile small pieces of different genres under a single opus number.
The reason Wq. 112 includes both classical works like fugues and pieces with Romantic characteristics is due to the pursuit of musical diversity, educational and practical purposes, market needs, and the reflection of Emanuel Bachʼs artistic vision. This collection demonstrates his wide-ranging musical talents while also fitting the cultural and market context of the time.
I asked ChatGPT4o: "Were the pieces in Wq. 112 published simultaneously?"
The pieces in Wq. 112 were published together in 1787 in Berlin. This collection was edited by Emanuel Bach himself in his later years and released under the title "Keyboard Pieces of Various Kinds" (Clavierstücke verschiedener Art).
Intention as a Unified Collection
The reason Emanuel Bach compiled Wq. 112 likely includes the intention to integrate pieces of different styles and forms into a single framework, showcasing his diverse musical talents. He compiled these pieces with educational and recreational purposes in mind, targeting enthusiasts and home music-making.
Part of His Late Publishing Activities
In his later years, Emanuel Bach was very proactive in publishing his works to make them widely known. Wq. 112 can be considered one of the culminations of this effort, reflecting his mature musical style.
Practical Reasons for Simultaneous Publication
Given the publishing technology and market conditions of the time, it was more efficient and appealing to compile and sell several short pieces together rather than publishing them individually. Therefore, the pieces included in Wq. 112 were published as a set, allowing purchasers to enjoy a variety of forms at once.
Wq. 112 was published as a single volume of sheet music, with each piece included within it. This format ensured that the pieces were not released separately but circulated as a unified collection. The arrangement and order of the publication were likely chosen by Emanuel Bach himself, reflecting his intentions.
In other works by Emanuel Bach, there are cases where specific pieces circulated individually as manuscripts before publication. In the case of Wq. 112, it is possible that some pieces were performed as manuscripts among enthusiasts or students before publication, but as an official publication, these pieces were released together.
The pieces in Wq. 112 were published simultaneously as a unified collection in 1787. This allowed Emanuel Bach to showcase the diversity of his musical style while also meeting the demands of the publishing market.