With this new record, the flutist and director Alexis Kossenko, rising star of the young Baroque generation, finishes the integral of Carl Philipp Emanuel Bach's concertos started in 2006 (Alpha 093, best mark of the magazine Classica at its release). He is once again accompanied by the Polish ensemble Arte dei Suonatori, of which he has been the guest conductor for several years…
One of the more puzzling remarks about the music of Carl Philipp Emanuel Bach came from Mozart, who said that anyone who listened closely would realize his debt to the German composer. That seemed unlikely, given that Mozart only rarely availed himself of the Sturm und Drang ("storm and stress") style of C.P.E.'s keyboard music. But listen to this release by flutist Emmanuel Pahud and you'll get an idea of what Mozart was talking about. It's not just that the flute concertos are basically galant in style, not Sturm und Drang. It's a certain nervous energy that makes the flute bloom rapidly out of squarish themes and keeps you guessing as to what's coming next.
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).
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.
After the success of their first volume Ophélie Gaillard and Pulcinella propose a second disc devoted to Johann Sebastian Bach's most talented and surprising son, Carl Philipp Emanuel (1714-1788). The Sinfonia in C major expresses multiple emotions, ranging from irrepressible suffering in the Adagio to joyous release and insouciance in the concluding Allegretto, tinged with near-Mozartian grace. The Cello Concerto in B flat reveals the influence of the waning Baroque era and Vivaldi in particular.
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.
Carl Philipp Emanuel Bach (8 March 1714 – 14 December 1788), also formerly spelled Karl Philipp Emmanuel Bach, was a German Classical period musician and composer, the fifth child and second (surviving) son of Johann Sebastian Bach and Maria Barbara Bach. His second name was given in honor of his godfather Georg Philipp Telemann, a friend of Johann Sebastian Bach. C. P. E. Bach was an influential composer working at a time of transition between his father's baroque style and the classical and romantic styles that followed it. His personal approach, an expressive and often turbulent one known as empfindsamer Stil or 'sensitive style', applied the principles of rhetoric and drama to musical structures. Bach's dynamism stands in deliberate contrast to the more mannered galant style also then in vogue.