℗ 2020 haenssler CLASSIC
Released | April 17, 2020 |
Duration | 56m 58s |
Record Label | haenssler CLASSIC |
Catalogue No. | HC19041 |
Genre | Classical (Orchestral) |
C.P.E. Bach: Piano Concertos
Michael Rische, Berliner Barock Solisten
Available in 48 kHz / 24-bit AIFF, FLAC audio formats
Piano Concerto in D Major, Wq. 11
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1.1
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I. Allegro di molto
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten |
7:48 | |||
1.2
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II. Adagio non molto
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten |
8:33 | |||
1.3
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III. Allegro
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten |
5:50 | |||
Piano Concerto in C Minor, Wq. 43/4
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1.4
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I. Allegro assai
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten |
3:22 | |||
1.5
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II. Poco adagio
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten |
2:06 | |||
1.6
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III. Tempo di minuetto
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten |
2:40 | |||
1.7
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IV. Allegro assai
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten |
4:21 | |||
Piano Concerto in E Minor, Wq. 24
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1.8
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I. Allegretto
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten |
7:19 | |||
1.9
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II. Largo
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten |
7:25 | |||
1.10
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III. Allegretto
Carl Philipp Emanuel Bach; Michael Rische; Berliner Barock Solisten |
7:34 | |||
Digital Booklet
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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
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -2.49 -10.38 to -0.01 | -24.02 -27.70 to -21.87 | -20.96 -24.60 to -18.90 | 14 11 to 15 | |
1 | I. Allegro di molto | -0.01 | -21.87 | -18.9 | 14 |
2 | II. Adagio non molto | -0.59 | -23.37 | -20.5 | 13 |
3 | III. Allegro | -1.86 | -23.06 | -20.1 | 13 |
4 | I. Allegro assai | -0.68 | -22.57 | -19.4 | 14 |
5 | II. Poco adagio | -10.38 | -27.70 | -24.6 | 11 |
6 | III. Tempo di minuetto | -0.32 | -23.98 | -21.2 | 14 |
7 | IV. Allegro assai | -1.99 | -25.64 | -22.3 | 15 |
8 | I. Allegretto | -1.70 | -23.06 | -20.2 | 13 |
9 | II. Largo | -4.90 | -26.23 | -22.9 | 14 |
10 | III. Allegretto | 0.00 | -22.67 | -19.5 | 15 |