This site introduces unknown Emanuel Bach (C. P. E. Bach).
ChatGPT4o writes as follows (please note that it may not be accurate):
Emanuel Bachʼs "Wq. 183" is a collection of four symphonies that stands as a representative work showcasing his mature compositional techniques and unique musical expression. Composed in the 1780s, this collection is characterized by its powerful structure that takes full advantage of the orchestraʼs diverse sounds. "Wq. 183" highlights his "Empfindsamer Stil" with its emotionally rich melodies and innovative harmonic progressions, containing elements that foreshadow Classical music. Particularly in the introductions and final movements of each symphony, the dramatic and dynamic developments are noteworthy. Emanuel Bachʼs pursuit of new musical possibilities, while inheriting the tradition of his father, Sebastian Bach, is vividly conveyed through this collection. "Wq. 183" is an important work symbolizing the transition from Baroque to Classical music and is cherished by many enthusiasts as a significant piece in the history of orchestral music.
Carl Philipp Emanuel Bachʼs symphony collection Wq 183 is his last and most magnificent symphonic work. Unlike the traditional four-part string orchestra, this work is composed for a full orchestra (woodwinds, brass, strings, and continuo), with independent parts given to the cello and violone. Furthermore, it is the only symphony collection published by Bach. Each piece follows the three-movement structure of fast-slow-fast, characteristic of North German symphonies, with particular emphasis on the first movement, employing a sophisticated three-part structure akin to sonata form. The skillful development of themes and motifs, along with elements of ritornello form, creates strong contrasts in timbre and dynamics. Bach established a distinct musical language, contrasting harmony and counterpoint, different from his father Johann Sebastian Bach. These techniques had a pioneering influence on the works of Mozart and Haydn, with the use of Neapolitan style in the second movement particularly foreshadowing late Haydn works.