Bach: Keyboard Concertos Vol. 9

On this CD:

1. Concerto for organ & strings in E-flat major, Wq35, H446
Composed by Carl Philipp Emanuel Bach
Performed by Budapest Concerto Armonico

2. Sonatina in D major, H. 449 (W.96)
Composed by Carl Philipp Emanuel Bach
Performed by Budapest Concerto Armonico

3. Concerto in C minor, H. 407 (W. 5)
Composed by Carl Philipp Emanuel Bach
Performed by Budapest Concerto Armonico

4. Sonatina for harpsichord & orchestra in G major, Wq 98, H451
Composed by Carl Philipp Emanuel Bach
Performed by Budapest Concerto Armonico

Tracks:

I. Allegro Ma Non Troppo
II. Adagio Sostenuto
III. Allegro Assai
I. Andante Ed Arioso
II. Cembalo Solo
III. (Andante Ed Arioso, Continued)
IV. Cembalo Solo
V. (Andante Ed Arioso, Continued)
VI. Allegro
I. Allegro Moderato
II. Arioso
III. Allegro Spirituoso
I. Larghetto
II. Allegro
III. Alla Polacca

Bach: Complete Keyboard Concertos Vol. 4

Average customer rating:

Effervescent Energy and Inventiveness
four-and-a-half stars, really

Bach: Complete Keyboard Concertos Vol. 4

Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Bach: Complete Keyboard Concertos Vol. 3
Bach: Keyboard Concertos Vol.2
Complete Keyboard Concertos 7
C.P.E. Bach: Complete Keyboard Concertos, Vol.6
Bach: Keyboard Concertos Vol. 9

ASIN: B0000016NM
Release Date: 1997-02-18

Tracks:

I. Allegro
II. Adagio
III. Allegro Assai
I. Allegro
II. Un Poco Adagio
III. Allegro
I. Allegro
II. Un Poco Andante
III. Allegro Assai

Customer Reviews:

Effervescent Energy and Inventiveness.......2007-05-28

Carl Philipp Emanuel Bach (1714 - 1788): The Complete Keyboard Concertos Vol. 4, containing 1. Concerto in G Major, H. 412 (Wq. 9) - World Première Recording; 2. Concerto in D Major, H. 4126 (Wq. 13); 3. Concerto in D Minor, H. 420 (Wq. 17) - World Première Recording; cadenzas are partly by CPE Bach and partly improvised by the harpsichordist. Performers: Miklòs Spányi, harpsichord and early fortepiano; Concerto Armonico (6 or 7/2/1/1), directed from the violin by Péter Szüts and from the keyboard by Miklós Spányi. Recorded at the Angyalföld Reformed Church in Budapest, Hungary, in October 1995 and March 1996. Released in 1997 as BIS CD-768. Total playing time: approx. 65 mins.

This is the fourth volume of a long series of BIS recordings documenting the complete works for harpsichord and strings by the second son of Johann Sebastian Bach, Carl Philipp Emanuel. The notes in the CD booklets are provided by members of the team at the University of Maryland who are working on a complete edition of Emanuel Bach's works. Miklós Spányi has decided on the basis of his musical intuition which keyboard instrument to use in each instance - on this fourth volume we hear a copy of a large harpsichord by the North German instrument-maker Hieronymus Hass and a copy of a 1749 Silbermann fortepiano, a very rare instrument (both instruments are pictured in color on the back cover of the booklet). Spànyi has carefully compared the autograph manuscripts with later revisions by the composer himself (copies to be found in the Royal Conservatory of Brussels in Belgium), and here generally opts for the later versions. In his highly interesting notes, he gives his justification for every decision; it seems that H. 416 was probably originally a flute concerto that the composer later transcribed for keyboard so that the use of a fortepiano with its silvery tone works very well in giving a feeling for the original as well as being highly entertaining and pleasing to the ear in its own right.

Carl Philipp Emanuel Bach was, in the eighteenth century, the one people meant when they spoke of "Bach". He was born when his father was 29 years old, spent his youth learning the musician's trade with his father in Leipzig and, at the age of 20, moved to Frankfurt an der Oder in order to study law (but where he also took charge of musical activities). In 1738 he moved again, this time to Berlin where he became harpsichordist at the Court of the future King of Prussia, Frederick (the Great) and where he published his famous theoretical treatise "Essay on the True Way of Playing the Keyboard". In 1768 he was called to be director of church music in the city of Hamburg, where he remained until his death. Altogether he wrote 64 works for keyboard and strings, but also many works for clavichord or harpsichord solo, for pianoforte, a good deal of chamber music, songs and sacred vocal works. His life spanned most of the 18th century, and his name is usually associated with the musical version of "Sturm und Drang" (infelicitously translated as "storm and stress") or "Empfindsamkeit" (sensibility). His works for keyboard and string ensemble are as important for the development of the piano concerto as are Haydn's symphonies for the classical symphony.

The three concertos on this disc were all written between approx. 1741 and 1745 in Berlin and give an excellent impression of how the young composer, now around 30, had gained in confidence and was emancipating himself from his father and beginning to experiment in his own personal style. The first movement of H. 412 with its boisterous violin ritornelli, the second movement of H. 420 with its charming melody "un poco adagio" and unusual bass line and the springy last movement of H. 416 all bear witness to the effervescent energy and inventiveness of a composer who was generally considered a genius.

My impression of the recording is that it makes progress over the previous three volumes, the performers becoming ever more liberated and really enjoying themselves and the engineers perfecting what was a good sound in the first place - this time I felt I could hear the bass strings even more clearly than before, and the balance is well nigh perfect. This series looks as though it will be getting more and more interesting as it goes along! Great stuff!

four-and-a-half stars, really.......2001-01-03

But who's counting? This is the first CD by the period-instrument ensemble Concerto Armonico that I've ever purchased, and I'm really impressed. Their attack and verve is intoxicating. This is an exciting recording from the get-go, and the recorded sound is excellent (the BIS label has impressed me in this regard before, namely Sibelius Symphony No. 5 with Jarvi and the Gothenburg Symphony). The acoustics give this smallish ensemble a surprisingly large sound, without losing any detail.

Spanyi is a good keyboard player, though not in the league of Andreas Staier or Malcolm Bilson. These are not the most demanding concertos, however, and Spanyi is by no means a bad soloist. He certainly deserves esteem for his revival of C.P.E. Bach's music. Note: the first two concertos on this CD are performed on the harpsichord, while the D major work is performed on an early fortepiano--this is Spanyi's choice, not the specific wish of the composer, but it works fine.

Tracks:

Con in d BWV 1052: I. Allegro
Con in d BWV 1052: II. Adagio
Con in d BWV 1052: III. Allegro
Italian Con: I. Allegro
Italian Con: II. Andante
Italian Con: III. Presto
Con in B-Flat Op.4 No.6: I. Andante-Allegro
Con in B-Flat Op.4 No.6: II. Larghetto
Con in B-Flat Op.4 No.6: III. Allegro Moderato
Ste No.15 in B-Flat: Air And Vars
Son No.36 in c#: Minuet
Deutsche Tanze: No.5 'Ballo Tedesco'
Con in D Hob.XVIII/11: I. Vivace
Con in D Hob.XVIII/11: II. Un Poco Adagio
Con in D Hob.XVIII/11: III. Rondo All' Ungherese

Customer Reviews:

Wanda Landowska Plays Harpsichord Concertos.......2000-07-21

It is good to have this collection of all the harpsichord concertos Wanda Landowska recorded in Paris in the late 1930s. Many of the items have been unavailable in recent years. All display Landowska's wonderful rhythmic vitality and alert musicianship. The excellent transfers are by Mark Obert-Thorn. Besides three concertos with orchestra, several smaller pieces for solo harpsichord by Handel and Haydn and included and also Landowska's unmatched account of Bach's Italian Concerto sounding brighter and clearer than it ever did on 78s. Somehow Mark Obert-Thorn has solved problems that always existed with the Italian Concerto recording. On the original 78s, the "run off" at the end of the first and third sides occurred before the sound of the harpsichord had died away, and there were pitch variations at the beginning of the second side. Now, at last, these original defects have been remedied. I strongly recommend this splendid CD. The timing is 78'33".

Music Track:

Music Track

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