Top >
★C.P.E. Bachʼs Musical Works >
Keyboard Concertos by C.P.E. Bach >
Keyboard Concerto Wq. 34 in G Major >
Organ Performance of Keyboard Concerto Wq. 34
This site introduces unknown Emanuel Bach (C. P. E. Bach).
This English version was translated from Japanese one by ChatGPT.
Organ Performance of Keyboard Concerto Wq. 34
I asked ChatGPT4o: "There is a CD where Martin Haselböck performs Wq. 34 on the organ."
Thatʼs intriguing. Wq. 34 (H. 444) is a Keyboard Concerto in G major composed by C. P. E. Bach in 1755, structured in three movements: the first movement Allegro di molto, the second movement Largo, and the third movement Presto. While this piece might not seem suitable for organ performance, Iʼm curious about how Martin Haselböck interpreted and performed it.
The Possibility of Wq. 34 Being Suitable for Organ
-
Tonalities that Utilize the Organʼs Resonance
- G major allows for a bright and brilliant sound through organ registration.
- However, many of C. P. E. Bachʼs concertos were written for the fortepiano, with an emphasis on subtle nuances, which might be restricted on the organ.
-
First Movement (Allegro di molto)
- Although a fast and lively movement, its strong ritornello form might allow for a powerful Baroque-style expression with creative organ stops.
- However, if using pedals, technical adjustments to the keyboard might be necessary.
-
Second Movement (Largo)
- Being a slow movement, it can take advantage of the organʼs sustained tones.
- The challenge might be to replicate the nuances of the clavichord or fortepiano through changes in stops.
-
Third Movement (Presto)
- A movement with a fast tempo and lively motion.
- While intricate expressions typical of keyboard instruments are required, this might be challenging on the organ.
- However, if rhythmic playing with pedals is possible, it could serve as a dynamic finale.
About Martin Haselböckʼs Performance
Haselböck is an organist and conductor skilled in performing music from the Baroque to Classical periods on original instruments.
- Creative Registration: He might have reconstructed C. P. E. Bachʼs expressions by utilizing the unique timbres of the organ.
- Accompaniment Arrangement: It would be interesting to see how he balanced with the orchestra, possibly having the organ play a basso continuo role.
- Tempo and Articulation: The key might be how he reproduced the characteristics of a keyboard piece while utilizing the organʼs sustained sound.
Conclusion
While there are challenging aspects to performing on the organ, Wq. 34 might surprisingly have elements suitable for the organ. Particularly, the ritornello form of the first movement and the sustained tones of the second movement seem to align with the organʼs characteristics.
Haselböckʼs recording might offer a new perspective on interpreting C. P. E. Bachʼs concertos.