Speaking about Johann Sebastian Bach’s second son Carl Philipp Emanuel (1714-1788), Mozart said “he is the father, we are the children”. Indeed, Carl Philipp Emanuel is one of the major musical figures of this key period, the turning point between the baroque and classical aesthetics. Although he left a large body of work written for instruments of all kinds, the keyboard was always his favourite. He produced a number of collections for it, featuring numerous sonatas and freestyle works such as fantasias, a genre in which he excelled. Aline Zylberajch and Alice Piérot offer a selection of pieces for both violin and keyboard and solo keyboard, all composed during Carl Philipp Emanuel’s mature years, from the 1760s up until his death.
This 29CD set provides a superb introduction to this master of the Barock. He is often suffers in comparison to Bach, Handel and Vivaldi mainly because it is so difficult to know where to start with such a vast body of work. This Brilliant Classics box set makes the Telemann experience all the more enjoyable by making this selection and providing a wonderful window into the world of this great composer.
"…The sound is every bit as good as the playing - all players are just "there" and all the highlighting of textures and balance adjustments are obviously not the work of the engineers. Enormously recommended. " ~sa-cd.net
Born in Catalonia and Arnold Schönberg’s sole Spanish student, Roberto Gerhard is, after Manuel de Falla, the boldest and most brilliant representative of the music of his country. Forced into the exile by the Spanish civil war, he became a British citizen and spend his last years in Cambridge. Although they never met, the connection with the Arditti Quartet seems to have been preordained, as illustrated by this superb recording of what can be considered the composer’s masterworks.
Gerhard completed his unnumbered Symphony "Homanaje a Pedrell" twelve years before his Symphony No 1 (1952-3). Its genesis may have been a long drawn-out affair, the opening movement suggesting that is did not begin as a symphony. Perhaps as early as 1922, the year of Felipe Pedrell’s death, Gerhard began to contemplate this tribute to his revered teacher with whom he studied from 1915 to 1920. The tribute is based on ……