BACH, CARL PHILIPP EMANUEL: Sonata in G Major, H. 187 - Artur Balsam

CARL PHILIPP EMANUEL BACH ARTHUR BALSAM liner notes 2

Most of these compositions are sonatas which, as a rule, consist of three movements in closely related keys; but when the expressive content demands it the composer does not hesitate to use as unusual a key combination a G-g-E for the successive movements. Occasionally the three movements shrink to two, connected by a few transitional measures, and even a complete integration of all movements into a single unit occurs, anticipating nineteenth- century tendencies. Beginning with the second collection, Rondos join the Sonatas. These compositions, which were particular favourites with Emanuel's contemporaries, are based on brief and deceptively simple subjects. The composer presents his ideas in ever new transformations, changing their pitch, dissolving them melodically, harmonizing them in different ways, and introducing unexpected rests and rubatos. His sudden changes between pianissimo and fortissimo, his crescendi ending up in piano, his diminuendi leading to a forte, as well as his ingenuity in offering ever new surprises to the delighted and amused listener clearly reveal an exquisite sense of humor. These rondos are the musical counterpart of his witty and spirited conversations, which made the great intellects of his time seek Emanuel's company.”