Abstract. The focus of this paper is on the Six Hamburg Symphonies (Wq. 182), composed by C. P. E. Bach at the request of Gottfried van Swieten: the history of appearance and means of construction of the sonata form in the fi rst movements of the symphonies. The thematic processes and tonal plans of the Hamburg Symphonies are compared with C. P. E. Bach’s earlier Berlin Symphonies. The paper generalises the analytical observations about the fi rst movement of C. P. E. Bach’s Hamburg symphony in terms of the contrast between the main and auxiliary parts, the means of division into sections, the development of sections, and the general construction of the symphonies.
Keywords: C. P. E. Bach, Hamburg Symphonies, Wq. 182, preclassical sonata form.
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