The Double Keyboard Concertos of Carl Philipp Emanuel Bach
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The double keyboard concertos of Carl Philipp Emanuel Bach Item Type text; Thesis-Reproduction (electronic) Authors Waterman, Muriel Moore, 1923- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 18:28:06 Link to Item http://hdl.handle.net/10150/318085 THE DOUBLE KEYBOARD CONCERTOS OF CARL PHILIPP EMANUEL BACH by Muriel Moore Waterman A Thesis Submitted to the Faculty of the DEPARTMENT OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 0 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg ment the proposed use of the material is in the interests of scholar ship. In all other instances, however, permission must be obtained from the author. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: JAMES R. ANTHONY Professor of Music ACKNOWLEDGMENTS The author is deeply indebted to Dr* James R. Anthony for his meticulous supervision of the research and writing which culminated in this thesis. The high standards he sets as a musicologist, acted both as guide and inspiration. She wishes to thank Dr. Edward W. Murphy for his help with the formal analyses. The valuable suggestions and revisions which he and Dr. Samuel S. Fain offered are greatly . appreciated. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS ................ vi LIST OF TABLES ............. „ ................... » , vii ABSTRACT . V . ............... <>- . , . viii Chapter I. INTRODUCTION .......... , . 1 Purpose of the Study • . ................. • » 1 P r o c e d u r e ......................... .......... ^ 3 Bach: A Biographical Summary 4 Bach/s Style ......... 7 The Concerto Before and During Bach’s Time . 9 ■II. SOURCES USED AND METHODS OF ANALYSIS . ... 15 Sources . .................. 15 Catalogues of the Works of C. P» E» Bach . o 15 Citations in the L i t e r a t u r e ......... 19 Printed Editions . * . ......... e « 21 Autograph Copies and Authenticated Manuscript Copies ....................... 23 Recordings............. 27 Methods of Analysis ...... ........ ..... 28 III. CONCERTO IN F MAJOR, WQ. 46: FIRST MOVEMENT ...... 34 Introduction . ..... ....... 34 Sound ..................... 34 Instrumentation .............. 35 Texture ............. 37 Form ...................... 46 First Movement .............. .... 46 iv V TABLE OF CONTENTS— Continued Chapter Page IV* CONCERTO IN F MAJOR, WQ. 46: SECOND AND THIRD MOVEMENTS........... ............. 6 8 Second Movement.......... * . 6 8 Sound ........ * * . 6 8 Form . • , * ......... 69 Third Movement 82 S o u n d ............... * ........... 83 F o r m ........... 83 V. CONCERTO IN E-FLAT MAJOR, WQ. 47: FIRST MOVEMENT .... 92 Introduction.......... ................. 92 Sound . * 92 Form . ........................... # 95 First Movement ................... 97 VI. CONCERTO IN E-FLAT MAJOR, WQ. 47: SECOND AND THIRD MOVEMENTS ..................... 106 / . Second Movement 106 Sound ......... 108 Form ...................... 109 Third Movement ................... 114 Sound ...................... 114 Form . ............... 116 Comparison and Summary ............... 121 APPENDIX A: WQ. 46, FULL SCORE EXCERPT .......... 125 APPENDIX B: WQ. 46 AND WQ. 47, BRUSSELS MSS EXCERPTS...... 152 LIST OF REFERENCES .............. ............ 170 ■ LIST OF ILLUSTRATIONS Figure Page lo Concerto in F Major, Wq« 46: First Movement Chart .............................................. 48 2o Diagram of Solo IIS Wq» 46, First Movement . , o 64 3o Concerto in F Major, Wq, 46: Second Movement Chart • e o • o o 75 4* Concerto in F Major, Wq* 46: Third Movement Chart ......... * * ............ 84 5, Concerto in E-Flat Major, Wq* 47: First Movement C h a r t ............... 99 6 * Concerto in E-Flat Major, Wq. 47: Second Movement Chart ......... oooooooooooooooooo 107 7o Concerto in E-Flat Major, Wq* 47: Third Movement Chart * * .............. 115 vi LIST OF TABLES Table Page I. Prototypes of Concerto Forms ............... 33 ABSTRACT Carl Philipp Emanuel Bach, a major composer in the pre-classic period, composed two concertos for two keyboard instruments with orchestra. These works provide insight into Bachfs musical develop ment, and also reveal transitional features between the form of the baroque concerto and that of the classic concerto. Both works are analyzed stylistically and formally. The F major concerto, written in 1740, is available in print only in the form of a piano reduction, * > . dated 1914-1918. Therefore, the manuscript copy of this concerto, held in the Brussels Bibliotheque du Conservatoire Royal de Musique, is consulted frequently and compared where possible with the printed piano reduction. The E~flat major concerto, written in 17.88, is available in a modern full-score edition. It is found that the F major concerto, although the earlier of the two, shows vorformen of the later classic concerto. Bach expands the baroque ritornello principle with a recapitulatory design. The E-flat major concerto, written in the last year of Bach*s life, is no longer in the mainstream, formally, of the evolution of the classic concerto, but shows Bach1s continuing and increasing concern with expressiveness of content. CHAPTER I INTRODUCTION Purpose of the Study The purpose.of this thesis is to analyze9 both stylistically and formally5, the two double keyboard concertos of C* P. E» Bach. To avoid confusion9 the name, "Bach , 11 not preceded by initials, refers in this thesis to C. P. E* Bach. The composer is recognized by an extensive conglomeration of sources as one of the major, and more often, actually the major com- . poser of his time. William Mitchell, in his introduction to the trans lation of Bachls Essay on the True Art of Playing Keyboard Instruments (1949, pe 176) lists the many countries which the Essay reached, and states that thus "the seed of the Bach influence, was widely scattered." Charles Robert Haag, in his unpublished Ph.D. dissertation on Bach/s keyboard concertos (1956, p. 20) writes: ". the composer’s important position in pre-classic music makes inevitable in his work certain anticipations of the classic concerto." C. Stanford Terry, in Grove’s Dictionary of Music and Musicians (1954, p. 176) summarizes the general findings thus: "As a composer Emanuel stands out prominently in the transition generation that separates Johann Sebastian from the full maturity of Haydn’s genius." Since Bach’s stature and influence have been documented as considerable, it was felt that a detailed analysis of his important works would be of value9 both in itself and in tracing the development of such works from the baroque to the classical periods. As I have a personal interest in works for two solo keyboard instruments, it seemed appropriate to con centrate on this category. It was found (see pp. 18-19, this thesis) that while Bach had written several works for two keyboard instruments, his two concertos for two solo keyboards plus orchestra were major works in this genre, and might be significant not only in themselves but also in tracing the development of the double keyboard concerto. In the section covering "Sources," this choice is expanded upon at length. It should be noted here, however, that the first concerto, in F major, has not received anything more than a mere listing in any reference found; the second concerto, in E-flat major, while discussed as part of the ten keyboard concertos (both single and one double) of Bach1s Hamburg period, has still been given no more than a superficial treatment. In her unpublished Ph.D. dissertation on the keyboard concertos of C. P. E. Bach, Jane R. Stevens (1965) treats the ten keyboard concertos written while Bach was in Hamburg, including some valuable findings on the E-flat major concerto, but does not present a detailed formal and stylistic analysis. Therefore, a detailed study of these two double keyboard concertos seems proper, and constitutes the subject of this thesis. Procedure After introductory materials including a short biographical sketch of the composers his musical style, and the concerto (particu larly the north German concerto) before and during Bachis time, this study proceeds to the section on sources; then follows a discussion of the details of procedure used in the formal and stylistic analysis of the concertos, the analyses themselves, and then a comparison of both concertos and a summary of their place in the development of the late baroque concerto into the classic concerto. Because of the comparative difficulty in obtaining scores of these concertos, especially of the earlier one in F major, a schematic chart of each movement of both concertos is included in the discussion of that movement,