The Expression of Empfindsamkeit in C. P. E. Bach's Six Symphonies Wq. 182

• Main Authors: Ching-Hong Kao, 高錦弘
• Other Authors: Chi-Jen Chang
• Format: Others
• Language: zh-TW
• Published: 2007
• Online Access: http://ndltd.ncl.edu.tw/handle/76961382037980423713

碩士 === 東吳大學 === 音樂學系 === 95 === As a representative of Northern German composers in the pre-classic era, C. P. E. Bach's contributions include the art of keyboard playing, the establishment of sonata form, and his empfindsam style, or sentimentalism. The latter was mainly expressed in his keyboard fantasies. This study collected the empfindsamkeit elements from one set of his symphony works, the six string symphonies of Wq. 182. From these works, although not as much as in his fantasies, we can still find the following characteristics: exaggerated dynamic change, strange modulation, irregular phrase, flight of ideas, and some cheating arrangement. To evaluate these characteristics, one piece of Haydn's symphony of the same period was selected for comparison. Concert Program: 1. Chung-Ying Kuo: 'Waves' 2. C. P. E. Bach: Sinfonia No. 2 in B flat, Wq. 182-2 3. Felix Mendelssohn-Bartholdy: Violin Concerto in E minor, Op. 64 4. Joseph Haydn: Symphony in D major, Hob. I: 104