Uploaded January 2026 | Updated September 2026, 2 weeks ago
Academy for Early Music Berlin conducted by Mayumi Hirasaki.
I - Allegro assai: 0:00
II - Andante: 3:36
III - Presto: 7:25
C.P.E. Bach's Symphony in D major (Wq 176 / H 651) was composed in 1755, while the composer was under the patronage of Frederick II of Prussia in Berlin. We don't know for what occasion the piece was written, neither what ensemble, when and where it was premiered. We can safely assume, however, that the symphony (alongside the rest of the Berlin period) was written for the opulent musical soirées of the Prussian court. The work was originally scored for string orchestra (with maybe two horns). Later on, Bach added three trumpets, timpani, two flutes, two oboes and two horns (if they weren't already in the manuscript).
Bach was an influential composer working at a time of transition dominated by between his father's Baroque style and the Classical style that followed it. He was the principal representative of the empfindsamer Stil or "sensitive style", which intended to express "true and natural" feelings and features sudden contrasts of mood. Other characteristics are the abundance of ornaments and dynamic contrasts, as well as the liberal use of appoggiaturas ("sigh" figures) and frequent melodic and harmonic chromaticism. The Symphony as a genre was finally coming into its own during this time, establishing an identity apart from its predecessor, the operatic sinfonia or overture. Composers such as C.P.E. Bach, his brother J.C., Georg Monn, G.B. Sammartini, and Johann Stamitz did much to develop and establish the symphonic genre.
Fourteen years separate this work with Bach's first symphony of 1741, and notable differences are apparent. These can largely be explained by the great development of the concerto genre, especially the keyboard concerto, in Bach’s hands in the intervening years. The individual movements, specially the first movement, are longer. The structure becomes more sophisticated, with the ritornello principle becoming less evident as Bach sifted towards the first drafts of sonata form. For example, there is a tendency for movements to fall into three sections, the third of them a tonally prepared section in the tonic key that increasingly resembles the recapitulation of the sonata design. A further innovation rooted in developments in the concerto and the operatic overture is a tendency to link the three movements of the piece, although attacca markings are not found in Wq. 176.
The first movement is clearly built on the ritornello technique. It begins with a solemn and martial main theme in D major, marked by its unison fanfare-like textures. This material then keeps returning (hence "ritornello") more or less intact, but in different keys as it briefly develops. After a diminuendo and pause, the theme is radiantly recapitulated. We find no pompous and brilliant coda, as would be expected from any other composer, but instead a diminuendo that seems to prepare the next movement with a sudden move to B minor before closing the allegro.
The second movement is written in ternary form. It opens with a melancholic main theme in B minor, presented by flutes over strings and harpsichord. Bach makes a very interesting use of string pizzicati transitions between sections, the technique itself being a rarity at the time. The middle section introduces a more passionate and agitated second theme, before another pizzicato transition leads to a shortened recapitulation of the main theme. There is no real coda, as the material dissolves while moving to D major as if preparing the finale.
The third movement is structurally very similar as the first one. It begins with a rhythmic and vivacious main theme in D major, resembling an animated jig with its driving triplets. Although they create the sense of a triumphant occasion, woodwinds are used in a subordinate role to the strings and not to their full potential in terms of colour and virtuosity. As the material keeps returning, it delves into several modulations and flourishes. A final ritornello begins a recapitulation of the material in its original form, before the presto ends with a decided coda.
Picture: Colourized engraving of C. P. E. Bach.
Musical analysis partially done by myself. Sources: tinyurl.com/2yg4tovq and tinyurl.com/2ypq6tln
To check the score: tinyurl.com/22hksjhs
Academy for Early Music Berlin conducted by Mayumi Hirasaki.
I - Allegro assai: 0:00
II - Andante: 3:36
III - Presto: 7:25
C.P.E. Bach's Symphony in D major (Wq 176 / H 651) was composed in 1755, while the composer was under the patronage of Frederick II of Prussia in Berlin. We don't know for what occasion the piece was written, neither what ensemble, when and where it was premiered. We can safely assume, however, that the symphony (alongside the rest of the Berlin period) was written for the opulent musical soirées of the Prussian court. The work was originally scored for string orchestra (with maybe two horns). Later on, Bach added three trumpets, timpani, two flutes, two oboes and two horns (if they weren't already in the manuscript).
Bach was an influential composer working at a time of transition dominated by between his father's Baroque style and the Classical style that followed it. He was the principal representative of the empfindsamer Stil or "sensitive style", which intended to express "true and natural" feelings and features sudden contrasts of mood. Other characteristics are the abundance of ornaments and dynamic contrasts, as well as the liberal use of appoggiaturas ("sigh" figures) and frequent melodic and harmonic chromaticism. The Symphony as a genre was finally coming into its own during this time, establishing an identity apart from its predecessor, the operatic sinfonia or overture. Composers such as C.P.E. Bach, his brother J.C., Georg Monn, G.B. Sammartini, and Johann Stamitz did much to develop and establish the symphonic genre.
Fourteen years separate this work with Bach's first symphony of 1741, and notable differences are apparent. These can largely be explained by the great development of the concerto genre, especially the keyboard concerto, in Bach’s hands in the intervening years. The individual movements, specially the first movement, are longer. The structure becomes more sophisticated, with the ritornello principle becoming less evident as Bach sifted towards the first drafts of sonata form. For example, there is a tendency for movements to fall into three sections, the third of them a tonally prepared section in the tonic key that increasingly resembles the recapitulation of the sonata design. A further innovation rooted in developments in the concerto and the operatic overture is a tendency to link the three movements of the piece, although attacca markings are not found in Wq. 176.
The first movement is clearly built on the ritornello technique. It begins with a solemn and martial main theme in D major, marked by its unison fanfare-like textures. This material then keeps returning (hence "ritornello") more or less intact, but in different keys as it briefly develops. After a diminuendo and pause, the theme is radiantly recapitulated. We find no pompous and brilliant coda, as would be expected from any other composer, but instead a diminuendo that seems to prepare the next movement with a sudden move to B minor before closing the allegro.
The second movement is written in ternary form. It opens with a melancholic main theme in B minor, presented by flutes over strings and harpsichord. Bach makes a very interesting use of string pizzicati transitions between sections, the technique itself being a rarity at the time. The middle section introduces a more passionate and agitated second theme, before another pizzicato transition leads to a shortened recapitulation of the main theme. There is no real coda, as the material dissolves while moving to D major as if preparing the finale.
The third movement is structurally very similar as the first one. It begins with a rhythmic and vivacious main theme in D major, resembling an animated jig with its driving triplets. Although they create the sense of a triumphant occasion, woodwinds are used in a subordinate role to the strings and not to their full potential in terms of colour and virtuosity. As the material keeps returning, it delves into several modulations and flourishes. A final ritornello begins a recapitulation of the material in its original form, before the presto ends with a decided coda.
Picture: Colourized engraving of C. P. E. Bach.
Musical analysis partially done by myself. Sources: tinyurl.com/2yg4tovq and tinyurl.com/2ypq6tln
To check the score: tinyurl.com/22hksjhs
