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Instruments Suitable for Cello Concerto in A Minor, Wq. 170
This site introduces unknown composer Emanuel Bach (C. P. E. Bach).
This English version was translated from Japanese one by ChatGPT.
Instruments Suitable for Cello Concerto in A Minor, Wq. 170
After asking ChatGPT4o about the differences between modern cellos and historical instruments, I inquired further: "I feel that Emanuel Bachʼs Cello Concerto in A Minor (Wq. 170) is best suited to the sentimental sound of historical instruments. Moreover, this work seems to be the piece that most effectively utilizes the sentimental tone of the cello."
Indeed, Emanuel Bachʼs Cello Concerto in A Minor, Wq. 170 is a work that is highly suited to the sentimental sound of the Baroque cello (historical instrument). I strongly resonate with the idea that this piece is one of the works that most effectively utilizes the sentimental tone of the cello.
Below, I will organize the reasons from the perspectives of the characteristics of the work, compatibility with the instrument, and performance interpretation.
1. Reasons why historical instruments with a sentimental sound are suitable for Wq. 170
(1) Tonality: The choice of A minor
- A minor is a key particularly suited to "introspective and sentimental expression" in Baroque music.
- The sound of gut strings harmonizes well with the shaded sound of minor keys, allowing for more nuanced expression of emotional movement.
- Wq. 170 is one of the most dramatic and melancholic works among Emanuel Bachʼs cello concertos, and its sound is indeed well-matched with the sentimental tone of the Baroque cello.
(2) Transparency of tone
- Gut strings contain many natural overtones, and their soft attack enriches the nuances of phrases.
- Wq. 170 is a work filled with emotional fluctuations, and the delicate tone of historical instruments can bring out this expression more effectively than modern steel strings.
- Using a Baroque bow creates subtle differences in tone between up-bow and down-bow, perfectly matching Emanuel Bachʼs expressive melodies.
(3) Restraint of vibrato
- Emanuel Bachʼs music is sentimental but not suited to excessive romantic expression.
- In performances with historical instruments, vibrato is used sparingly, and emotions are expressed through phrasing and dynamic changes, making it possible to convey the nuances of the Empfindsamer Stil in Wq. 170 most effectively.
- Using constant vibrato on a modern cello may make the "wistfulness" and "quiet lamentation" of Wq. 170 somewhat excessive, potentially compromising its pure sentimentality.
2. Reasons why Wq. 170 is a piece that most effectively utilizes the sentimental tone of the cello
(1) The deep melancholy of the second movement (Andante)
- The highlight of Wq. 170 is the second movement, Andante.
- The quietly speaking melody, long sustained notes, and poignant chromatic progressions maximize the sentimental tone of the cello.
- When played on a Baroque cello with gut strings, it allows for a deeply expressive performance, as if "a person is speaking".
- This movement is, indeed, music "written for a sentimental cello".
(2) The inner drama of the first movement (Allegro)
- The first movement combines intensity with inner conflict.
- The soft yet powerful sound of gut strings brings an ideal effect to this dramatic movement.
- By adding subtle changes in tension at the end of phrases, the sentimental atmosphere is further emphasized.
(3) The light melancholy of the third movement (Allegro assai)
- The finale is lively yet contains a certain sadness.
- The tone of the Baroque cello is suitable for beautifully expressing this "coexistence of lightness and melancholy".
- When played on a modern cello, the sound may become somewhat too sharp, but the mellowness of gut strings allows for a more refined expression of "sentimental joy".
3. The connection between Emanuel Bach and the "sentimental cello"
- Emanuel Bachʼs music is a representative example of the "Empfindsamer Stil", which emphasizes emotional fluctuations and delicate expression, and Wq. 170 is one of the works that embodies this style.
- Frequent emotional changes and the need for improvisational expression make the warm and delicate tone of gut strings optimal.
(2) The celloʼs range and expressiveness
- The cello is an instrument with a range close to the human voice, and in Wq. 170, "singing" expressions are seen throughout.
- Especially the Baroque cello, with its ability to produce a soft and natural attack, can more effectively play "sentimental songs".
Conclusion
Historical instruments with a sentimental sound are suitable for Wq. 170
- The shaded sound of A minor
- The soft and delicate tone of gut strings
- Inner expression with restrained vibrato
- Subtle nuances with a Baroque bow
- Compatibility with the characteristics of the Empfindsamer Stil
Wq. 170 is a work that most effectively utilizes the sentimental tone of the cello
- The poignant melody of the second movement (Andante) maximizes the sentimental sound of the cello
- The inner drama of the first movement and the light melancholy of the third movement
- The tone of the Baroque cello allows for more "naturally speaking" expression
In this way, Emanuel Bachʼs Wq. 170 is an ideal work for the sentimental cello, and performing it on a Baroque cello can bring out its expression to the fullest.