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.
A good first introduction to the musical worlds of Carl Philipp Emanuel Bach is the recently released 10-CD box "C.P.E. Bach Edition ", on which the German 'harmonia mundi' has compiled high-quality recordings from the past 50 years.
This massive 30 CD compendium commemorates the tricentenary of C.P.E. Bach's birth. The Hamburg and Berlin Symphonies, the Württemberg Sonatas and the Magnificat are among the many works included in this set. The artists included, too numerous to mention, include Rinaldo Alessandrini, Raphael Wallfisch and Hartmut Haenchen.
Marking the 300th anniversary of Carl Philipp Emmanuel Bach’s birth in 1714, this 13-CD box at budget price presents a survey of his greatest works, performed by some of the most renowned musicians in the world of historically informed performance. Carl Philipp Emmanuel Bach (1714-1788), the second son of JS Bach, was a celebrated figure in his lifetime and is recognised as a crucial figure in the transition from the Baroque to the Classical styles. Mozart, no less, said of him: "He is the father, we are the children.”
CPE Bach (second son of JSB) offers so much more than eccentricity and in this recital of five sonatas Danny Driver, a recent addition to Hyperion’s bejewelled roster of pianists, makes his superlative case for music that is as inventive as it is unsettling. Playing with imperturbable authority, he captures all of the mercurial fits and starts of the G minor Sonata (H47) – almost as if Bach were unable to decide on his direction. And here, in particular, you sense Haydn’s delight rather than censure in such a startling and adventurous journey. The strange, gawky nature of the third movement even anticipates Schumann’s wilder dreams and, dare I say it, is like a prophecy of Marc-André Hamelin’s trickery in his wicked take on Scarlatti (also on Hyperion, 12/01). Again, the beguiling solace of the central Adagio is enlivened with sufficient forward-looking dissonance to take it somehow out of time and place. In the Adagio of the A major Sonata (H29) gaiety quickly collapses into a Feste-like melancholy, though even Shakespeare’s clown hardly sings more disquietingly of life’s difficulties. The finale from the same Sonata has a mischievous feline delicacy; and if the last three sonatas on this recital are more conventional, they are still subject to all of Bach’s mood-swings
Are you ready for extreme 18th century keyboard? The typically sparse packaging graphics of this ECM release may indicate only to German speakers what's contained inside: a "Tangentenflügel" is a tangent piano, a rare keyboard instrument of Mozart's time that used hammers, striking the strings at a tangent, but no dampers. The sound combines qualities of a clavichord (its nearest relative, but the tangent piano is louder), a fortepiano, and a harpsichord.