Carl Philipp Emanuel Bach
36 products
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C.P.E. Bach: Solo Keyboard Music, Vol. 42
$21.99CDBIS
May 16, 2025BIS-2487 -
An Afternoon in van Swieten's Salon
$16.99CDChallenge Classics
May 09, 2025CC 720004 -
Flute Concertos from Sanssouci
$21.99CDProspero Classical
May 30, 2025PROSP0112 -
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C.P.E. BACH COLLECTION
C.P.E. Bach: Empfindsamkeit
C.P.E. Bach: Piano Concertos, Wq. 7, Wq. 37 & Wq. 42
Carl Philipp Emanuel Bach - Edition
Symphonies in 3 Movements
The Hidden Legacy - Works for solo keyboard
C.P.E. Bach: Solo Keyboard Music, Vol. 42
An Afternoon in van Swieten's Salon
Flute Concertos from Sanssouci
C.P.E. Bach: Flute Concertos
W.F. Bach, Benda & C.P.E. Bach: The Age of Extremes
C.P.E. Bach, Haydn & Mozart: The Classical Organ
Bach, C.P.E.: Trio Sonatas, Wq. 143-147
Young & Foolish - Mozart & C.P.E. Bach / Melnikov, Frisch, Valetti, Café Zimmermann
Young and foolish is the title Café Zimmermann has chosen for this program, which features music from the 1770s and 1780s by Mozart and Carl Philipp Emanuel Bach, starting with Mozart’s famous and sparkling Divertimento KV 138. For this fascinating W.A.-C.P.E. face-off, Café Zimmermann has invited an exceptional musician: the fortepianist Alexander Melnikov. They perform the Concerto no.17 in G major KV 453, of which Mozart said in a letter to his father that (like his concertos KV 450 and KV 451) ‘they make you sweat’! Melnikov is joined by harpsichordist Céline Frisch, co-founder of the ensemble, in Carl Philipp Emanuel Bach’s Concerto for fortepiano, harpsichord, and orchestra, the only one of its kind ever composed, a work full of energy and mischief.
REVIEW:
This album hosts works by two of the greatest composers of the Classical Era, C.P.E. Bach and Mozart. The performances, featuring the outstanding solo artistry of pianist Alexander Melnikov and harpsichordist Céline Frisch, supported by the ensemble Café Zimmermann, are captivating, and the recording boasts a clear and intimate soundscape.
— The Classic Review (Tal Agam)
C.P.E. Bach: Solo Keyboard Music, Vol. 27
This disc completes the set of CPE Bach’s Fortsetzung Sonatas, Wq51 that began in Volume 26 in this series. Although the sonatas were not published together with the composer's own variants on them, such alternative versions exist in manuscript, and splitting this set of large-scale works over two discs, Miklós Spányi also includes recordings of these varied or embellished versions that may represent the composer's revisions but could equally well have been intended as study material for his students.
C.P.E. Bach & Graun: Viola Concertos
For some time, writes viola virtuoso Mathis Rochat in the preface of this new release, he had been thinking to adapt Carl Philipp Emanuel Bach's Cello Concerto in B-flat Major for his own use. He calls it a "somewhat audacious transcription", but the range of the solo part is well-suited for the viola and can be performed on the instrument with great ease. Which had to be proven first! Indeed, the young Swiss artist lends the "higher-pitched" composition a power of momentum and elasticity from which the already supple, melodious music can only benefit. All the more, since it is a superb "overture" to both of the following works, which Johann Gottlieb Graun, eleven years Bach's senior, had intended for the viola. Sometimes flanked by its little sister, as in the quiet Sturm und Drang C Minor concerto, then alone in sole competition with the string orchestra, this under-appreciated instrument shows in the music of the Berlin Court a wealth of expression that need not hide behind its higher and lower rivals.
enSuite
The 18th century had a dynamic musical scene in which much experimentation went alongside respect for accepted traditions. A wide range of hybrid forms emerged in the wake of the French dance suite and the new Italian solo sonata: not only sonatas with divergent forms and suites in which French character titles suddenly gave way to Italian tempo indications, but also everything in between. Korneel Bernolet here presents an anthology of European 'compiled' sonatas in the form of or derived from suites, alongside contrasting compositions that sought the true sonata form. He plays the Joannes Daniel Dulcken magisterial 1747 single-keyboard harpsichord, whose ambassador and titular player he is.
C.P.E. Bach: Flute Concertos / Most, Riddell, The Danish Sinfonietta
Rune Most, the distinguished Danish flautist performs three delightfully virtuosic flute concertos by C.P.E. Bach with the Danish Sinfonietta and conductor David Riddell. Of the three concertos recorded here, the D minor concerto (Wq 22) is the only concerto conceived for flute. The A minor (Wq 166) began its life as a cello concerto, and the G major (Wq 169) began as a concerto for organ, with C.P.E. later crafting his brilliant flute version.
Rune Most began his studies at the Carl Nielsen Academy of Music in Odense with Karl Lewkovitch. Later came studies with Professor Lóránt Kovács in Budapest, and in 1990 he made his debut from the soloist class of the Royal Danish Academy of Music in Copenhagen, where he had studied with Toke Lund Christiansen. Today Rune Most is solo flautist with the Odense Symphony Orchestra and teaches at the Carl Nielsen Academy of Music in Odense. Over the years music has taken him to South America, China, Russia and many countries in Europe as a chamber musician and soloist.
Capriccio's 40th Anniversary: Instrumental Soloists from Barto to Zimmermann
Capriccio continues to celebrate its 40th anniversary with this retrospective of some of the greatest instrumental recordings in its catalog. The keyboard mavens: Ton Koopman in Bach-Senior, the great Christine Schornsheim in Bach-Sons Concertos, and Tzimon Barto, the muscular master of the soft touch, in Brahms. Wind-aces Burkhard Glaetzner (oboe), Eckart Haupt (flute), and Reinhold Friedrich (trumpet) playing baroque and classical period masters. The trusty Petersen Quartet and the inquisitive Linos Ensemble, who have always been an essential element of the repertoire exploration that soon became Capriccio’s hallmark, and the arch-musician Tabea Zimmermann and Vladimir Spivakov representing true highlights among the high strings. A generous and tasty synopsis of what this plucky label is about!
40th Anniversary: Symphonic Highlights
When Capriccio started out in 1982, still producing LPs and tapes, it was the first digital Beethoven Symphony cycle with the Dresden Philharmonic and Herbert Kegel that first turned heads. Several other key projects were pivotal to the label quickly establishing a reputation as a source of quality music and performances. Foremost among them, never out of the catalogue and still loved today, are the recordings with Sandor Végh. Then, in the mid-nineties those of Sir Neville Marriner’s, who, after long being synonymous with the Philips label, recorded widely for Capriccio, both with his Academy Of St Martin in the Fields and the Stuttgart Radio Symphony Orchestra. Contemporaries of Mozart’s that have emerged on Capriccio include Joseph Martin Kraus, François-Joseph Gossec, and Jan Ladislav Dussek. They are performed by early music and classical period Capriccio-favorites such as Concerto Köln or the CPE Bach Chamber Orchestra. This box set features the label’s most important ensembles, orchestras, and conductors, from the classical period to the 20th century, when, in 2005, Capriccio released the first complete Shostakovich Cycle with the Gürzenich Orchestra and Dmitrji Kitajenko.
C.P.E. Bach, Haydn & Mozart: The Art of Transformation / Miller
Music of the classical and pre-classical periods is the language of ideas and gestures. Musical gesture becomes intelligible by recurrence and recognition. Turning an idea on one’s tongue, trying it out in slightly different wording, with a new intonation and in a changed voice creates the musical discourse — the story told, or the argument held. This is the definition of variation, and variation lies at the heart of musical expression.
The sonata form is sometimes considered nowadays as the greatest achievement of musical thought of that period, but composers of the 18th century were happy to turn to more humble forms. Of these, Variations and Fantasias are probably those with the most distinguished histories. In Variations, an idea is confined to the simplest frame of a musical period, unable to break its own formal boundaries, but free to mutate in all possible ways inside them; in the Fantasia, a musical thought is born, develops and flourishes with no seeming restraint, but for the free will of the composer to structure this flow, and yet, they have in common this constant tension between the urge to repeat an idea and the necessity of altering, transforming it. This hidden conflict feeds creativity and the imagination: it generates, ultimately, the classical style.
C.P.E Bach: Six Concertos / Astronio, Molardi
Carl Philipp Emanuel Bach wrote this set of six keyboard concertos Wq43 once he had been released from the constricting service to Frederick the Great of Prussia. Published in 1772, these concertos are among the first-fruits of such liberated imagination. The solo parts of these works will test the mettle of any aspiring or proven virtuoso. Their greatest originality, though, lies in their form.
Each concerto is written cyclically, or continuously, meaning that one movement leads directly into the next. Even the cadenzas are fully written out, anticipating in this regard Beethoven’s ‘Emperor’ Concerto of two generations later.
The panoply of CPE’s instrumentation is necessarily compressed by this transcription of the concertos for two harpsichords, but the vitality of dialogue is fully preserved. It was made (or at least copied) by Johann Gottlieb Haußstädler, a copyist working for Peter August, the organist for the Elector of Saxony. The two men may have collaborated on the arrangement; at any rate, it has been unknown until now, and comes to life in the hands of a pair of Italian musicians with a serious pedigree in recording music of this period for Brilliant Classics.
Time Remembered / Matthias Kirschnereit
Experience Matthias Kirschnereit's fascinating musical life in the album "Time Remembered." This extraordinary playlist of 36 hand-picked pieces tells personal stories and brings memories to life. From Bach, Bussoni, and Bruckner to Handel, Janácek, Ligeti, Rachmaninoff, Satie, and Bill Withers - this musical journey spans almost 400 years of music history and takes you into different genres and styles. Discover the turning points, rough edges, and Matthias Kirschnereit's constant urge to express himself through music. From moving to Namibia at the age of nine to leaving grammar school without A-levels to become a pianist, his musical horizon expanded abruptly. Today, after almost 50 CD recordings, thousands of concerts played worldwide, and awards, Matthias Kirschnereit is still searching for new things, challenges, and tasks.
Mozart: Mass in C Minor; C.P.E. Bach: Heilig ist Gott / Butt, Dunedin Consort
Following a highly anticipated televised performance at the 2023 BBC Proms, Dunedin Consort and its director John Butt now release Mozart’s ‘Great’ Mass in C minor and Carl Phillip Emmanuel Bach’s Heilig ist Gott on Linn. Devised to celebrate his marriage to Constanze, but left unfinished at the composer’s death, Mozart’s Mass can clearly be traced back to the choral writing of Johann Sebastian Bach and his son, Carl Phillip Emmanuel. This musical genealogy is displayed here in a lavish double-chorus, double-orchestra feast where both works echo each other. No stranger to Mozart – the ensemble’s recording of the Requiem was a Gramophone Award Winner and Grammy-nominated – Dunedin Consort puts its stamp on these most spectacular contributions to church music.
C.P.E. Bach: Piano Concertos / Sciortino, Orchestra of Padua & Venice
Carl Philipp Emanuel Bach and the keyboard concerto—a lifelong relationship, challenging and exhaust¬ing, altogether fruitful, brilliant, and even spectacular into the bargain. As a 19-year-old (under the eyes of his father, so to speak) he wrote in Leipzig his first keyboard concerto; at the age of 74 in Hamburg he finished, in the year of his death, his last example of the genre. In-between lies a treasury of fifty keyboard concertos, colossal and fathomless.
It is a wonder that this uncommonly rich and stylistically influential genre of the composer is only now coming to light. Of all the genres of composition, C. P. E. Bach’s keyboard concertos have guarded their secret longest as unpublished music—that is, precisely the genre of works that qualify as the most personal and most advanced of his compositional oeuvre. He himself says of this: “Because I have had to create most of my works for particular persons and for the public, I have therein always been more constrained than with the few pieces which I prepared just for myself. Among all my works, especially for keyboard, are just a few…concertos, which I composed with total freedom and for my own use.”
