This massive 30 CD compendium commemorates the tricentenary of C.P.E. Bach's birth. The Hamburg and Berlin Symphonies, the Württemberg Sonatas and the Magnificat are among the many works included in this set. The artists included, too numerous to mention, include Rinaldo Alessandrini, Raphael Wallfisch and Hartmut Haenchen.
Marking the 300th anniversary of Carl Philipp Emmanuel Bach’s birth in 1714, this 13-CD box at budget price presents a survey of his greatest works, performed by some of the most renowned musicians in the world of historically informed performance. Carl Philipp Emmanuel Bach (1714-1788), the second son of JS Bach, was a celebrated figure in his lifetime and is recognised as a crucial figure in the transition from the Baroque to the Classical styles. Mozart, no less, said of him: "He is the father, we are the children.”
When it came to writing Passions, C. P. E. Bach was certainly far more prolific than his father, whose St. Matthew Passion is by far and away the model against which all others are currently measured. He wrote 21 of these, or rather, he wrote bits and pieces of each one, the rest of which was cobbled together from works by his contemporaries and even his father.
More than just a challenge to orthodoxy.. . Why should music ‘before Mozart’ now be the sole preserve of period-instrument orchestras? For some years now, Ensemble Resonanz has challenged this idea, without ever neglecting the notion of the sheer pleasure to be derived from the concertos and symphonies of the great C. P. E. Bach. Like their guest soloist Jean-Guihen Queyras, all the musicians master both styles of playing (on metal or gut strings) with dazzling virtuosity. This is the first disc on harmonia mundi to celebrate their collaboration with maestro Riccardo Minasi.
Carl Philipp Emanuel Bachs interest in the organ would seem to be fairly limited, at least judging by the number of pieces he composed for the instrument. The reasons for this attitude could be personal and professional, but could also reflect the changing affections and the new sensibility of the period, since during his lifetime the organ underwent a phase of relative decline. Indeed, following the acme reached by Johann Sebastian Bach, the instrument sank into a phase of neglect in Germany during the second half of the 1700s.