Symphony in B minor (Wq 182:5 / H 661) - . Bach

Café Zimmermann Ensemble conducted by Pablo Valetti I - Allegretto - (attacca): 0:00 II - Larghetto - (attacca): 4:09 III - Presto: 6:30 In contrast to the symphonies Carl Philipp Emanuel Bach composed for the musical public of Berlin between 1741 and 1762, with the six works of Wq 182 he turned his attention toward music for the connoisseur. He composed this set of symphonies, all scored for four-part string orchestra with continuo, in Hamburg in 1773 to fulfill a commission from Baron Gottfried van Swieten. Bach included these symphonies as the final item in the numbered list of compositions he compiled for his 1773 autobiograph. The fifth symphony (in B minor), continues the tendencies already seen in the last, most advanced Berlin symphonies. Many of . Bach’s most characteristic touches can be found in these symphonies: energetic tuttis abound, sometimes in strong unison as is the case in the opening movement of the Symphony in C major. Sudden contrasts in mood, extreme modulations and abrupt closes, hallmarks of the so-called “Empfindsamer Stil“ of which Bach is the supreme representative, occur frequently. Wild and restless emotional upheaval are fundamental stylistic elements in Bach’s music. His style is built around stark and sometimes bizarre contrasts, dramatic, emotional and intellectual; nowhere is it more apparent than in the sudden juxtaposition of extreme dynamic shifts also a feature of much of his keyboard music. In such an intensely personal and emotionally extravagant language it is understandable perhaps that Bach chose to omit the ubiquitous Minuet and Trio in keeping with his fellow composer Johann Adam Hiller’s view that: “Minuets in symphonies always seem to us like beauty patches on the face of a man; they give the music an effeminate appearance, and weaken the virile impression made by the uninterrupted sequence of three well-matched serious movements, where in lies one of the greatest beauties of execution“. The first movement, in B minor, is written in binary form. It opens with a deeply melancholic violin solo, which serves as the base of the tragic main theme. Then, comes a lyrical response as a contrasting motif. The development apart from using the usual techniques: ornamentation, modulations, dynamic contrasts, it is especially expressive, reaching such an expression and only Mozart or Beethoven could compare with much time later. Then the music makes a quick transition to the next movement The second movement, also in B minor, is written in ternary form. It begins with the strings presenting an obscure theme that is profusely ornamented. In the middle section, the music modulates to the relative major key of D major, presenting a more gentle contrast. After recapitulating the main theme, the music fades away, leading to the next movement. The third movement, in B minor, is written as a teme and continous variations. It opens with the strings presenting a restless, drammatic theme. This theme as the main one of the first movement correspond to the style of the “Sturm und Drang“ passionate style. A melodic counter-motif is presented as a brief contrast. The impulse of the main theme leads to several variations with ornamentations, modulations and phrasing variations. The work ends with a dark but firm coda. Picture: Engraving of Carl Philipp Emanuel Bach (c1987) Sources: this Recording&language=English# and Musical analysis done by myself.