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Introduction INTRODUCTION The three works published in the present volume—the Likewise, hardly anything is known about the impe- Concerto in C Minor, Wq 31, the Concerto in G Minor, tus for the creation or the circumstances of performance Wq 32, and the Concerto in F Major, Wq 33—date from of the keyboard concertos. Apparently Bach most often the years 1753 to 1755 in Berlin, and thus belong to the played his concertos in the context of private soirees in the middle period of Carl Philipp Emanuel Bach. In the estate circle of his musician colleagues and friends. In his autobi- catalogue (NV 1790, p. 32), the following entries are found: ography Johann Wilhelm Hertel reports on Bach’s perfor- mance of the Concerto in D Major, Wq 11 at Franz Benda’s No. 32. C. moll. B. 1753. Clavier, 2 Violinen, Bratsche und Baß. house in October 1745.4 Whether the oft-cited note of No. 33. G. moll. B. 1754. Clavier, 2 Flöten, 2 Violinen, Bratsche und Baß. Frederick II on Bach’s request for a pay raise from the year No. 34. F. dur. B. 1755. Clavier, 2 Violinen, Bratsche und Baß. 1755 refers to a solo appearance involving a concerto for keyboard and orchestra at the court, cannot be resolved Within Bach’s concerto production these works rep- beyond a doubt.5 Possibly it has some connection with an resent, together with Wq 34 (published in CPEB:CW, appearance at the Berlin palace on 28 October 1753, which III/9.11), the conclusion of a particularly creative phase. is alluded to in contemporary daily newspapers.6 Perhaps At the beginning of his time in Berlin Bach wrote at least the fact that three of the five original dates in Bach’s con- one concerto for solo keyboard and string accompaniment certo autograph manuscripts mention the months of April each year,1 and in this manner began to explore the young and May suggests a yearly recurring event for which Bach genre and further develop it in its artistic possibilities. In furnished a new concerto.7 The 6 May birthday of Bach’s the ensuing period only a few other works can be identi- close friend, the Berlin doctor and music lover Georg Ernst fied that seem like added contributions to the series. In Stahl (1713–72), could be a conceivable occasion. the second half of the 1750s Bach’s artistic interest seems As the original sources for Wq 31 and 32 make plain, to have shifted from the concerto to the symphony, after Bach performed these works at least once at the beginning which he turned his attention to the sonatina for obbligato of his time in Hamburg. This presumably occurred in the cembalo and orchestra (a genre developed by him), before context of the public concerts he organized. The Hamburg he returned to writing concertos. newspapers mention several times that Bach performed his Whether there were biographical reasons for this shift in emphasis is unknown. In any event, for the years 173; Claus Oefner, Die Musikerfamilie Bach in Eisenach (Eisenach: Bach- from 1753 to 1755, applications to city representatives in haus, 1996), 78–81; CPEB-Briefe, 1:40–41; Musik am Rudolstädter Hof. Zittau (1753) and Leipzig (1755) are documented,2 as well Die Entwicklung der Hofkapelle vom 17. Jahrhundert bis zum Beginn des 20. Jahrhunderts, ed. Ute Omonsky (Rudolstadt: Thüringer Landesmu- as a trip undertaken in 1754, which apparently involved the seum Heidecksburg, 1997), 209; and Ernst Wilhelm Wolf, Auch eine exploration of employment possibilities at the courts in Reise aber nur eine kleine musikalische in den Monaten Junius, Julius und Rudolstadt, Eisenach, Gotha, and Kassel.3 August 1782 zum Vergnügen angestellt (Weimar, 1784), 42–43. 4. Hertel, Autobiographie, ed. Erich Schenk (Graz and Cologne: 1. Only in the year 1752 is there no concerto listed in NV 1790; there Böhlhaus, 1957), 24; cited in CPEB:CW, III/6, xxii. are three works listed for 1753. The gap could be due to Bach’s work on 5. “Er hat ein mahl im Concert hier gespielet nuhn krigt er Spiritus.” Versuch I, published in 1753. (He once played in a concert here, and now he’s getting cocky.) Quoted 2. See CPEB-Briefe, 1:13–39; Arnold Schering, Musikgeschichte Leip- in Hans-Günter Ottenberg, Carl Philipp Emanuel Bach (Leipzig: zigs, vol. 3, Das Zeitalter Johann Sebastian Bachs und Johann Adam Reclam, 1982), 83; Ottenberg, 57. Hillers von 1723–1800 (Leipzig: F. Kistner & C. F. W. Siegel, 1941), 343; 6. See Manuel Bärwald, “ ‘... ein Clavier von besonderer Erfindung’: and Ulrike Kollmar, Gottlob Harrer (1703–1755), Kapellmeister des Gra- Der Bogenflügel von Johann Hohlfeld und seine Bedeutung für das fen Heinrich von Brühl am sächsisch-polnischen Hof und Thomaskantor in Schaffen Carl Philipp Emanuel Bachs,”BJ (2008): 271–300. Leipzig. Mit einem Werkverzeichnis und einem Katalog der Notenbiblio- 7. Wq 17: “d. 5 Apr. 1745”; Wq 23: “Potsd. Mens. Majo [1748]”; Wq 33: thek Harrers (Beeskow: Ortus, 2006), 339–40. “Pots. [17]55 Mens. Majo.” The other two only have years: Wq 46: 3. See Percy M. Young, The Bachs, 1500–1850 (London: Dent, 1970), “1740”; and Wq 8: “1741.” [ xi ] table 1. c.p.e. bach’s concert performances in hamburg Date Place Program Description Wiermann Document 28 April 1768 Drillhaus “Clavier-Concerte” IV/1 (p. 435) 5 May 1768 Konzertsaal auf dem Kamp “musikalische Stücke auf dem Flügel” IV/2 (pp. 435–36) 6 March 1769 Konzertsaal auf dem Kamp “ein Clavier-Concert” IV/4 (pp. 437–38) 14 and 21 December 1769 Konzertsaal auf dem Kamp “ein Concert und eine Sonatine” IV/5 (pp. 438–39) 25 and 28 December 1770 Wurmisches Haus “auf dem Flügel” IV/8 (pp. 441–43) 12 December 1774 Konzertsaal auf dem Kamp “ein Concert auf dem Flügel […] vom IV/12 (pp. 446–47) Herrn Kapellmeister Bach componirt” 6 April 1778 Konzertsaal auf dem Kamp “ein Concert und ein Trio auf dem Fortepiano” IV/19 (pp. 455–56) 22 March 1779 Kramer-Amtshaus “ein Solo und ein Concert auf dem Forte Piano” IV/21 (p. 457) 29 March 1779 Kramer-Amtshaus “auf dem Forte Piano” IV/22 (p. 458) 14 October 1780 Drillhaus “auf dem Forte Piano” IV/26 (p. 460) own concertos. (Table 1 gives a brief overview of the avail- of style. The two works mark extreme positions of Bach’s able evidence.) The orchestral ensemble in these concerts Berlin concerto style. Their extended ritornellos signify a was presumably quite large—at least significantly larger valorization of the orchestral part, which strives for origi- than in the private performances in Berlin; by comparison, nality and unusual sound effects. In Wq 31 Bach differen- Friedrich Gottlob Klopstock reports an orchestral ensem- tiates the color palette of the strings through distinctive ble of “forty instruments” for the performance of the four playing techniques (pizzicato, double stops, con sordino) symphonies Wq 183 in Bach’s concert on 17 August 1776.8 and dynamic effects. In addition Wq 31 features unison playing and repeated 16th notes, which lend the work al- most symphonic traits.The crossing of genre boundaries in Concerto in C Minor, Wq 31 the slow middle movement, which is organized like a large Bach described the Concerto in C Minor in a letter of recitative tableau, is also exceptional. In this fashion the 28 April 1784 to the Greifswald lawyer Johann Heinrich solo instrument becomes somewhat akin to a protagonist Grave with the following words: “The Concerto in C Mi- in a dramatic action. The use of instrumental recitatives in nor was formerly one of my show horses. The recitative is the 1740s and 1750s in the Berlin School appears to have written out as I played it without a doubt.”9 The humor- catered to a certain popular taste. The highly dramatic en- ously reinterpreted term “Paradör” is, as is often the case try of the solo keyboard in the first movement (after an in- with Bach, borrowed from military parlance, and refers to terrupted cadence) with an augmented version of the main a show horse in a military parade. He uses the term also subject and the expressive recitative as well as its attacca in his letter of 25 September 1787 to Johann Jakob Hein- transition to the last movement seem to indicate that Bach rich Westphal to describe the demanding and striking key- intended to imitate an operatic scene in this work. It is a board sonatas Wq 65/16, 65/17, and 65/20, and apparently remarkable example of his artistic striving to redefine the describes with it works that he composed principally for genre traditions of the Baroque concerto. his own use and made available to his friends only at a late The similarity to the “Freie Fantasie,” which Bach de- point in time. veloped in the 1740s, is striking. We first encounter rec- Wq 31 was written in the same year as the Concertos itative-like middle movements in cyclical works in Bach’s in A Major, Wq 29, and B Minor, Wq 30 (both published first “Prussian” Sonata (Wq 48/1). Further examples can in CPEB:CW, III/9.9). Wq 30 can be considered a sister be found in concertos by Christoph Schaffrath (Con- work to Wq 31, for it displays similar eccentric hallmarks certo in A Major; D-B, Mus. ms. 19750/2) and Christian Friedrich Schale (Concerto in D Minor; D-B, Mus. ms. 8. Wiermann, 448–49. 19758/2). Johann Gottlieb Janitsch employs a recitative in 9. CPEB-Briefe, 2:1009: “Das Concert C mol war vor diesem eines his Trio in G Major (in D-B, SA 3462).
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