℗ 2020 haenssler CLASSIC
Duration 56m 58s
Record Label haenssler CLASSIC
Catalogue No. HC19041
Release Date April 17, 2020
Genre Classical
 

C.P.E. Bach: Piano Concertos

Michael Rische, Berliner Barock Solisten

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Piano Concerto in D Major, Wq. 11  
1.1
I. Allegro di molto
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten
7:48
1.2
II. Adagio non molto
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten
8:33
1.3
III. Allegro
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten
5:50
Piano Concerto in C Minor, Wq. 43/4  
1.4
I. Allegro assai
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten
3:22
1.5
II. Poco adagio
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten
2:06
1.6
III. Tempo di minuetto
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten
2:40
1.7
IV. Allegro assai
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten
4:21
Piano Concerto in E Minor, Wq. 24  
1.8
I. Allegretto
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten
7:19
1.9
II. Largo
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten
7:25
1.10
III. Allegretto
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten
7:34
Digital Booklet
Duration    56m 58s
What happened in Leipzig in 1733 was crucial to the development of a musical genre that has been an integral part of the music scene for over two hundred years: the keyboard concerto. That year, Johann Sebastian Bach wrote his great Concerto in D minor BWV 1052 and his second oldest son Carl Philipp Emanuel, aged just 19, composed his first keyboard concerto, the Concerto Wq 1 in A minor. Anyone who directly compares the two concertos will hardly believe that they were both written in the same place and at the same time: on the one hand, the elder Bach’s harpsichord piece, which plumbs the deepest depths of polyphony; on the other, the younger Bach’s new approach to keyboard-writing, a style that almost seems to overlook the omnipresent tradition of counterpoint. S etting aside the extremely complicated compositional history of JS Bach’s harpsichord concerto — from the presumed adaptation of an oboe concerto by Benedetto Marcello through to the arrangement of Bach’s own violin concerto for keyboard by his son Emanuel (BWV 1052a) — what is certain is that the younger Bach did not simply inherit the keyboard concerto as a genre from the hands of his father; he played a decisive part in shaping and enriching it from the outset. Another point to note is that the composer’s artistic identity fundamentally changed during this period: the truths of faith ceased to be the focal point, eclipsed by principles of the Enlightenment, namely self-assurance and self-reliance.
48 kHz / 24-bit PCM – haenssler CLASSIC Studio Masters

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