The fourteen last rondos of C P E Bach: an investigation into their historic position, their form and their style

Abstract

This thesis deals with a set of compositions by C. P.E. Bach, referred to as "The Last Fourteen Rondos". Thirteen of these are contained in the collections of sonatas, fantasias and rondos for connoisseurs and music lovers. The fourteenth is a separate work, entitled "The Farewell From a Silbermann Clavier in the Form of a Rondo". After establishing the background and the history of these rondos, the thesis then proceeds to a detailed analysis of the various compositional aspects. First, it tries to explain the overall design of the rondos, a design which differs from that normally associated with rondo form. It then deals with the structure of the thematic material and shows Bach's preference for phrase parallelism and a relatively simple melodic and harmonic outline of the various subjects. Special chapters are devoted to the manner in which C.P.E. Bach treats the musical substance, namely, by means of Variation and by systematic development. A short chapter is then devoted to the fantasia sections, which are included into most of the rondos. It is in the field of harmony where C.P.E. Bach emerges as a most important forerunner of nineteenth century musical trends and, consequently, some detailed analyses form a major portion of the chapter dealing with harmony. Special attention is then given to the various aspects of C.P.E. Bach's style and, in particular, to the pianistic · traits. The thesis ends with a brief survey of the influence which C.P.E. Bach exerted on his contemporaries and on later composers.