The previous two CDs from pianist Michael Rische of the Piano Concertos of Carl Philipp Emanuel Bach have been universally acclaimed for their high degree of musicality and the pianist’s passionate commitment to this composer. And in fact, much of the work of this highly original genius remains to be discovered. The 300th Birthday of Bach's second son offers an ideal occasion to become better acquainted with this extraordinary and surprising composer. In addition to the solo concertos, this CD also presents the Concerto for 2 Pianos and Orchestra Wq 46. In each work, Carl Philipp Emanuel Bach makes the claim - once again – of his unique place in the history of music, and as evident in these vital, life-affirming performances, is one of the truly great “rediscovered” composers of the past.
Hyperion presents a second volume of CPE Bach’s startlingly original and inventive keyboard sonatas. This release spans the composer’s career, taking the listener from the highly expressive manner of his early works to his mastery of the Classical style—in which he still retains the distinctive characteristics, the fantastical changes of mood and tempo which both astounded and perplexed his contemporaries.
Danny Driver proves a peerless guide to this fascinating music, performing with elegance and vigour.
Carl Philipp Emanuel Bach (1714–1788), second son of Johann Sebastian, was both revered and criticized by his contemporaries for his bold departures from conventional modes of musical expression. He perfected a highly original and intensely personal compositional style known as the empfindsamer Stil (literally, the ‘sensitive style’). As the works on this recording show, Bach’s approach to musical expressiveness found voice in frequent mood changes, abundant rests and ‘sighing’ motifs, the juxtaposition of contrasting rhythmic figures, deceptive cadences, and dramatic, rhetorical harmonic interjections. Bach became particularly renowned for his ability to improvise fantasias—seemingly free-form, stream-of-consciousness flights of fancy …….
As the chamber harpsichordist of Frederick II, King of Prussia, C.P.E. Bach found himself in the constant company of flautists and other wind instrumentalists, and these immediate musical surroundings quite naturally left their mark on his compositional output. cpo's recording with the Cologne ensemble, Fiati con tasto, features rarities from Bach's wind chamber oeuvre.
The ever-expanding catalogue of Carl Philipp Emmanuel Bach on Brilliant Classics (most of it contained in a 30-CD box, 94640), now reaches his music for clarinet, which has received much less attention on record than his orchestral or keyboard works but is no less melodically fertile and formally inventive than his better?known music.
Avant garde. Eccentric. A maniac. Wild and adventurous. Off the wall. Extraordinary. No marketing hyperbole - this is how the players of the Orchestra of the Age of Enlightenment describe Carl Philip Emmanuel Bach and his music. One of the many children of JS Bach, CPE Bach always lived in his father’s shadow, and now is an almost unknown figure at least beyond the classical cogniscenti. How can such an unknown be considered a gamechanger? A listen to his music reveals just why – it constantly shifts, wrongfooting the listener when they least expect it with wild changes of direction and colour – it is bright, effervescent, and is a fascinating link between the music of his father (and the Baroque era) and Joseph Haydn (and the Classical era).
Carl Philipp Emanuel Bach, the most famous son of the great Johann Sebastian, created his own individual style, in which freedom of expression was the keyword. This substantial collection of keyboard works, ‘Für Kenner und Liebhaber’ (for connoisseur and amateur) contains some of his most audacious compositions, in which frequent and abrupt mood changes, improvisatory and declamatory passages without bar lines and wildly digressing modulations are the stylistic landmarks.
The year 2012 marks the tercentenary of the birth of Frederick the Great, whose political and military glory has often relegated his musical talent to the status of a mere hobby. But Frederick II was not only the key personality of Berlin musical life for the whole of the 18th century – as is shown by the works of the composers presented on this CD, all of whom worked at his court at some point in their careers – but also an excellent flautist who left posterity a number of fine flute sonatas from his own pen.