Symphony in E minor (Wq 178 / H 653) - . Bach

Barokkanerne conducted by Alfredo Bernardini I - Allegro assai - (attacca): 0:00 II - Andante moderato: 4:14 III - Allegro: 7:29 Composed in 1756, while he was employed in the court of the King Frederick the Great, Bach’s Symphony in E minor has been one of his most popular works. The operatic composer Johann Adolf Hasse described the work as the best he had ever heard, and after Bach’s death in 1788, it remained as one of his most performed orchestral pieces. The work is characterized by a strong “Sturm und Drang“ style in which Bach intensifies the elements of expression (like he did already in the slow movements of the previous symphonies) to a level never seen before. The work attest the slow evolution of symphonic form, abandoning baroque ritornellos and binary form towards a precedent of sonata form. Bach experiments not only with expression but also with symphonic structure; the fact he linked the first and second movements show a tendency that will be seen in the following symphonies. Like most other symphonies, the work was originally scored for strings and basso continuo (the Wq 177 version) but later Bach reorchestrated it, adding two horns, flutes and oboes (the Wq 178 version). The first movement, in E minor, is written in three sections. It begins with the orchestra presenting a passionate, anxious and drammatic two-part theme, where the second part is more positive. The development starts with the bold modulations and ornamentations characteristical of . Bach. There’s a very interesting oposition of dynamics, with passages in forte and others in pianissimo. During the development, the music reaches it’s most drammatic climax. Then, when it seems that a kind of recapitulation is going to take place, the tonality changes to G major and the next movement starts without pause. The second movement, in G major, is written in a very brief ternary form. It begins with an arioso lyrical theme presented by the strings. The middle section is a brief variation on that theme, lacking the usual ornamental and harmonic contrast. It ends with a low-key coda. The third movement, in E minor, is written in a proto-sonata form with three sections. It begins with the orchestra presenting a strongly rhythmic theme, but also passionate. Then a lyrical contrast motif comes (like the second theme in sonata form), followed by a wide development based on the main theme as the second section. Then, a recapitulation-like (of both main theme and lyrical motif) third section comes. After a new recapitulation of the main theme, he work ends with firm but strong coda. Picture: Engraving of Carl Philipp Emanuel Bach (c1987) Sources: and Musical analysis done by myself