In honor of CPE Bach's 300th birthday, hänssler CLASSIC will be releasing an exciting series of recordings dedicated to the music of this well known but hitherto neglected Bach son during the first 3 months of 2014. At the beginning there are the so-called “Hamburg” symphonies Wq 182, interpreted with great sensitivity and bite, when necessary, by the Stuttgart Chamber Orchestra under the renowned conductor and former violist of the Berlin Philharmonic, Wolfram Christ. Maestro Christ sees these works as expressive pieces, open to multiple interpretations that invite the listener to experience them as almost Romantic in their gesture and content. Deciding on a fortepiano continuo instrument is not only a historically informed decision, but contributes to a perfectly balanced overall sound.
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.
Sigiswald Kuijken wurde 1944 in der Nähe von Brüssel geboren und studierte Musik an den Hochschulen in Brügge und Brüssel; sein Studium schloss er 1964 mit dem Konzertdiplom für Violine ab. Bereits als Siebenjähriger kam er mit der Musik und den Instrumenten der Renaissance in Berührung, und gemeinsam mit seinem Bruder Wieland brachte er sich dann autodidaktisch das Gambenspiel bei. Dieser frühe und größtenteils intuitive Kontakt mit Alter Musik beeinflusste sehr stark sein barockes Violinspiel. 1969 begann Sigiswald Kuijken, die alte Technik des Violinspiels wieder einzuführen: er benutzte weder Kinnhalter noch Schulterstütze, das Instrument wurde mit dem Kinn überhaupt nicht festgehalten. Diese Technik hat seitdem viele andere Musiker beeinflusst und überzeugt. 1971-96 hat Kuijken sie am Konservatorium in Den Haag gelehrt und unterrichtet sie weiterhin (seit 1993) am Brüsseler Konservatorium. Als Mitglied des Brüsseler Alarius Ensembles (1964-1972) hat sich Kuijken intensiv mit Musik und Aufführungspraxis des 17. und 18.
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.
Carl Philipp Emanuel Bach (8 March 1714 – 14 December 1788) 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 Emanuel's father.
Emanuel 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 rococo style also then in vogue.
This music is absolutely superb !! I did not know Gallois before. He is a great virtuoso. This music of C.P.E. is astonishing. A great discovery for me. But, of course, you have to love flute. This beautiful and rhythmic music is never agressive for the listener. And you'll have two CDs at a bargain price. I had some doubt about NAXOS recording. It has been confirmed after listening to this CdS on all of my CD players. The sound of the flute is very clear. But we can't heared the orchestra with clarity. The sound of orchestra, the strings in particular, is so unclear and bad that it's ruined most of the pleasure. NAXOS does it again !!! Poor label. Personnally, this is my last purchase of a NAXOS CD.By François Beaudoin (Québec, Canada (where we speak french…))