Search - Carl Philipp Emanuel Bach, Les Amis de Philippe, Ludger Remy :: CPE Bach: Harpsichord Concertos Wq 30, 37 & 38 /Les Amis de Philippe * Remy

Carl Philipp Emanuel Bach, Les Amis de Philippe, Ludger Remy
CPE Bach: Harpsichord Concertos Wq 30, 37 & 38 /Les Amis de Philippe * Remy
Genre: Classical

Track Listings (9) - Disc #1
1. Concerto In f major Wq 38: Allegro Di Molto
2. Concerto In f major Wq 38: Poco Adagio
3. Concerto In f major Wq 38: Allegro
4. Concerto In B Minor Wq 30: Allegro Di Molto
5. Concerto In B Minor Wq 30: Adagio
6. Concerto In B Minor Wq 30: Allegro
7. Concerto In C Minor Wq 37: Allegro Assai
8. Concerto In C Minor Wq 37: Andante Ed Arioso
9. Concerto In C Minor Wq 37: Presto

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CD Details

All Artists: Carl Philipp Emanuel Bach, Les Amis de Philippe, Ludger Remy
Title: CPE Bach: Harpsichord Concertos Wq 30, 37 & 38 /Les Amis de Philippe * Remy
Members Wishing: 0
Total Copies: 0
Label: Cpo Records
Release Date: 11/21/1995
Genre: Classical
Styles: Forms & Genres, Concertos, Historical Periods, Baroque (c.1600-1750), Classical (c.1770-1830), Instruments, Keyboard
Number of Discs: 1
SwapaCD Credits: 1
UPC: 761203935024

Synopsis

Amazon.com

C. P. E. Bach wrote more than 60 keyboard concertos for instruments ranging from harpsichord to piano--and everything in between. And believe me, there were a lot of strange instruments in between. Modern performances, however, generally prefer either the harpsichord or the piano, and the music works very well on either instrument. C. P. E. was the most famous of Bach's sons--more famous than his father, actually, in the 18th century--and his music is extremely expressive and moving. As these exciting performances show, it's highly emotional, quirky, and consistently interesting and unpredictable. He's really a composer worth getting to know. --David Hurwitz

CD Reviews

Complete Liberty

catherine guelph | milano, italy | 09/06/2000

(5 out of 5 stars)

"These Harpsichord Concertos by Carl Philipp Emanuel Bach (1714-1788) are lively and bring a smile to my face. Even the adagio, although slow and reflective, are far from sombre. And the final movements are always uplifting, even if in the "sad" key of C minor. The use of short silences are accentuated by a burst of sound from the orchestra in the Allegro of the F Major concerto, for example. The notes, as is typical of the label, are extremely helpful. Complete with biographical material as well a thorough analysis of each piece. Here is what I learned. First, that these are the beginnings of the Concerto as we know it. For example, regarding the B minor Concerto, Ludger Remy writes, "Counterpoint and affect occur in close connection and produce a harmonic musical microcosmos of what was truly unheard-of [r]ight around 1753." Second, CPE Bach was interested in developing tension between the solo instrument and the orchestra. Remy explains, "Many of the most interesting modifications he made arose from his efforts to heighten the tension between the orchestra and the keyboard instruments so as to let the two compete with one another." I enjoy this CD because not only is it fun, I learned quite a bit. If you are interested in the beginnings of the Concerto as we know it or if you are interested in music that is lively and fun, this CD will be interesting to you."