Dr. Martin Falck-Leipzig : C. F. Kahnt Nachfolger, c1913. Printed in Leipzig by C. F. Kahnt (Publisher). In Public Domain, Wikimedia Commons.
A renowned organist, improviser and composer. in his later years his employment and income were unstable, dying in poverty in 1784.
He was J. S. Bach’s oldest son, born in 1710, and it is thought that he was the one that Bach set most of his hope on regarding composing and performing. Bach taught Wilhelm Freidemann the clavier. Bach's Inventions and Sinfonias were written about the year 1723 in Cöthen, Bach wrote them as exercises and study pieces for his 12 year old son, Wilhelm Friedemann Bach. Some of the pieces in The Well-Tempered Clavier were also written for Wilhelm’s instruction.
He received his first musical training from his father. Around the time of his tenth birthday, Wilhelm Friedemann received the Little Keyboard Book (the original is held at Yale University). This manuscript contains not only his father’s compositions but most probably his own first compositions too.
Thomasschule, Leipzig in Public Domain, Wikipedia Commons.
When his father became Cantor of St Thomas Church in Leipzig, he enrolled Wilhelm Freidemann in the associated school, Thomasschule. Other members of the family attended the school, Carl Phillippe Emmanuel, Johann Christian, Johann Christophe Friedrich and Johann Gottfried Bernhard. Bach stated that he partly took the position at Leipzig because of the educational opportunities for his children.
On leaving Thomasschule in 1829, Wilhelm Friedemann enrolled as a law student at Leipzig University and then later at the University of Halle, where he studied law and mathematics. In 1733 he was appointed to the position of St Sophia’s Church, Dresden and in 1746 he became the organist at the Leibrauenkirche at Halle. For reasons unknown, the left this position in 1764, and from this point on he supported himself and his family through teaching and giving recitals. He and his wife had three children, with only one daughter surviving to adulthood.
Not all of the manuscripts that Wilhem Friedemann inherited from his father have survived. In some cases, Wilhelm had some of his father’s compositions published under his own name. Others were lost, some were sold and some were taken by his descendants on emigrating to the United States. For example, the Well-Tempered Clavier Book 2 from the British Library Website “Probably inherited by Bach’s son Wilhelm Friedemann in 1750; acquired by Muzio Clementi in London in c.1820-1; bought at auction by John George Emett, and inherited by his son John Sebastian Wilmot Emett in 1847, who sold the MS at Christie’s in ca. 1859 when it was bought by Clarissa Sarah Clarke (née Douglas). In 1879, 20 of the 21 preludes and fugues were sold by Clarissa Clarke to Sarah Harriet Emett, and one leaf, containing the prelude and fugue in E major, was retained by Clarissa Clarke. In 1891 the MS was bequeathed by Sarah Emett to Eliza Wesley. Bequeathed by Eliza Wesley to the British Museum in 1896; the same year, the British Museum purchased the leaf with the E major prelude and fugue (f. 22) from Clarissa Clarke”. It doesn’t state how Clementi acquired the manuscript.
Wilhelm Freidemann Bach possibly found it difficult to adapt to the new musical style of composition that was evolving in his later life. He composed many sonatas, fantasias, suites and concertos however few are well-known. He was known as one of the best organists of his day.
He was buried in a cemetery in Berlin, I am not sure if the monument is on the location of the actual burial site. The burial register for the Evangelische Kirche in Berlin states that Wilhelm Freidemann Bach died on the 1st July 1784 and he was buried on the 3rd July 1784. His wife was Dorothea Elisabeth Georgin.
In “At the Piano with the Sons of Bach” edited by Maurice Hinson Alfred Publishing 1995 Hinson states “Wilhelm Friedemann’s keyboard idiom is very personal and full of charm and intimate expression. His earliest pieces show his naturally contrapuntally inclined musical style was influenced by the Italian homophonic style that was in vogue in Dresden during the years he spent in the city. In spite of the vigorous character of his keyboard pieces from this period, their youthful energy is often interrupted by melancholy and even gloomy moods and rebellious outbursts”. Hinson concludes by saying “ his great gifts remain evident in an outpouring of rich melody, a harmonic palette more varied and daring than his contemporaries, a consistent deepening of homophonic texture by means of effortless counterpoint and above all, a highly personal style of expression”.
What is the story that the player wishes to convey to the listener?
In consideration regarding the two-part writing that occurs in the music the player should consider a story that involves two characters. Perhaps the player could consider the RH’s character has a concern that they are describing to the LH’s character. There is a more hopeful part at the start of the second section before the RH’s character accepts the situation they are in. The LH’s character is offering advice to the RH’s character. This piece provides an opportunity for the player to create some words to the music. It is an interesting piece, as the piece gathers energy and then it is dissipated many times.
What is the structure of the music?
This piece is in binary form and each phrase in this piece moves into the following phrase using quaver movement. The third phrase, being at the start of the second section contains different material in comparison with the other phrases. The material in this phrase has a more ascending pattern and contains fewer longer notes in comparison to the other phrases.
JOHAN SEBASTIAN BACH (1685-1750) German Baroque composer with his sons painted by Balthasar Denner in 1730, Alamy.com
Main part of the music
The main part of this piece occurs at the beginning of bar 10 as the melodic material creates a brighter and more hopeful mood. The player must ensure that the listener’s interest is maintained to the end of the music considering there are six more bars of the music to the end.
Phrasing
There are four phrases in this piece, all of which are four bars long. As stated before, each phrase end contains quaver patterns, which help the end of the phrase move to the following one. At the end of the first and second phrases these quaver movements commence at the second quaver of the second beat thus creating an anacrusis. This provides a feeling of tension and haste in the music.
Metronome mark, time signature and rhythm
A speed of 116 crotchet beats per minute is appropriate for this piece. If played too fast, the character of the piece will become more light-hearted and carefree. On the contrary, if played too slowly the piece will lack drive and momentum.
There is a danger in this piece that the player may emphasise the first note of the three quavers in bars 4 and 8 and by doing so, change the time signature of this piece from simple to compound. The player could consider each two bars as an entity and by doing so; a compound time signature is implied.
The syncopated rhythm in bar 3 for example is unexpected, and should be slightly emphasised. There is a danger in this piece that a player may not hold the minims and dotted minims for their correct lengths.
Beginning and ending
This piece should start with gentle definition. The player should have their fingers in contact with the keys before commencing the piece with an upward movement.
The ending of this piece should be gentle and peaceful with the dynamics fading away and the speed slowing down a little. On the last notes, the player should hold these for an extra count before gently lifting off with the fingers touching the keys.
Details and considerations
Musical Period and composer
From the ABRSM Teaching notes for 2019 – 2020 ‘W. F. Bach, the eldest of J. S. Bach’s sons, is often known as the ‘Halle Bach on account of his years spent there. This delicate little dance-like melody has elements of his father’s polyphony combined with the expressive ‘Empfindsamkeit’ style.’
From the Grove Music Online website ‘A musical aesthetic associated with North Germany during the middle of the 18th century, and embodied in what was called the ‘Empfindsamer Stil’. Its aims were to achieve an intimate, sensitive and subjective expression; gentle tears of melancholy were one of its most desired responses.’
W. F. Bach’s music was composed during the transition from the Baroque period to the Classical period.
Touch
This piece mostly requires a cantabile touch in both hands. The editor of the music has inserted the word legato underneath the LH at the start of the piece. Nevertheless, there are instances where the RH can employ a brighter touch, such as at the beginning of the third phrase. Here the player should lift their fingers higher off the keys so the descent into the keys is quicker. And, the player should ensure that their fingers are more curved in these areas so the brighter touch is obtained.
Balance between the hands
Primarily in this piece the balance should be to the RH. However, the LH plays an integral part in this music, which should not be overlooked. For example in bar 2, the LH should lead the dynamics from the RH A towards the RH melodic line in the following bar. At the end of this phrase, the hand should merge together before playing as one, the quaver pattern. In this piece, the player must play with sensitivity and nuance so that the two lines are clearly heard.
Tone-matching
Since the speed of this music is not too fast, the player will need to be constantly analysing the level of sound in each of the hands and how the level compares to the other hand. This piece demands a sensitivity and awareness for dynamic levels. For example, the player will need to play the RH D in bar 3 a little louder than the second LH F in bar 2. And, at the end of the phrases where the hands merge together dynamically, the player must be aware of the level of each hand prior to this point. Also, the player should be aware of the tone-matching when playing the dotted crotchet/quaver pattern in the RH in bar 12.
Articulation
This piece, should on the whole, be played with a legato touch, however there are a few places where a gentle lift in the melodic line will add to the character of the music. These occur in the RH, at the end of bar 2, the start of the quaver movement in bar 4, at the end of bar 6, at the end of bar 10, at the end of bar 12 and at the end of bar 14. Also, a lift in the LH in bar 8, prior to the quaver movement, is advisable too. These lifts should, as stated, be gentle and imperceptible. The player should lift off with the fingers touching the keys so that the lift is not abrupt in any way at all.
Dynamics
The player can employ a range of dynamics in this piece from p to f although considering this piece is from the Baroque to Classical era the dynamics should not be too loud. The dynamic level at the end of each phrase is crucial for the dynamic level of the following phrase because of the forward movement of the quaver patterns. It is important that the player does not commence these patterns at too loud a level otherwise the following phrase will begin too loudly. Throughout this piece there is interplay between the hands, and the dynamics are an important feature in projecting this aspect.
Rubato
The player should use small touches of rubato in this music, as this will contribute to the character of the music. A small hesitation prior to the quaver movement in bar 8 is appropriate. And, at the end of the third phrase, a slight easing of the tempo is advisable as well as a slight ritardando in the final two bars.
Use of the LH
The LH plays an important part in this music. The listener should gain the impression that the LH is subtly nudging the RH in a certain direction. Whenever the LH is playing on its own, the player should consider how the LH is contributing to the overall character. There will be occasions where the LH may become a little louder than the remaining RH sound. This will create a slight degree of tension as the RH ‘catches’ up to the LH.
There are two instances in this piece where the LH is required to play an octave descending. This may require extra practice to ensure that the lower note is reached comfortably.
St Sophia’s Church, Dresden in Public Domain, Wikimedia Commons, https://commons.wikimedia.org/wiki/Template:PD-US
Use of the RH
Even though the RH is the principal partner in this piece it should never overshadow the LH. There should be a feeling of ‘give and take’ throughout the music.
Bars 1 – 4
Start this phrase at p level.
Let the peak for the phrase occur at the start of bar 3 at mp level.
The lift in the RH at the end bar 2 adds an elegance and gracefulness to the music.
The hands should blend together at the beginning of bar 4.
The quaver movement should sound as if energy is being accumulated for the playing of the following phrase.
Bars 5 - 8
Start this phrase at mp level.
Let the peak for this phrase occur at the beginning of bar 6 at mf level.
There should be a lift at the end of bar 6 in the RH.
The minim in the RH in bar 8 should be held for its correct length.
Bars 9 – 12
Start this phrase at mf level.
Let the peak of this phrase, and the piece, occur at the beginning of bar 10 at f level.
The player should ensure that the notes are not played with too much weight, as there is a danger that the notes could be played too heavily.
In this phrase the player should ensure that the listener is made aware of the LH melodic movement.
The dynamics should drop considerably at the end of the phrase so the following one commences at a p level.
Bars 13 – 16
Start this phrase at p level.
Let the peak of this phrase occur at the beginning of bar 15 at mf level.
In this phrase there is a larger range of dynamics that in the other phrases.
Grave of Wilhelm Friedmann Bach, Berlin Cemetery. In Public Domain, Wikimedia Commons contributed by Axel Mauruszat.