Klaus Kirbach, Kammerorchester Carl Philipp Emanuel Bach, Hartmut Haenchen - C.P.E. Bach: Berlin Symphonies (2014)
- Title: C.P.E. Bach: Berlin Symphonies
- Year Of Release: 2014
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 00:53:03
- Total Size: 252 mb
- WebSite: Album Preview
Tracklist
01. Symphony in E-Flat Major, Wq. 179: I. Prestissimo
02. Symphony in E-Flat Major, Wq. 179: II. Larghetto
03. Symphony in E-Flat Major, Wq. 179: III. Presto
04. Symphony in F Major, Wq. 181: I. Allegro
05. Symphony in F Major, Wq. 181: II. Andante
06. Symphony in F Major, Wq. 181: III. Allegro assai
07. Symphony in C Major, Wq. 174: I. Allegro assai
08. Symphony in C Major, Wq. 174: II. Andante
09. Symphony in C Major, Wq. 174: III. Allegro
10. Symphony in F Major, Wq. 175: I. Allegro assai
11. Symphony in F Major, Wq. 175: II. Andante
12. Symphony in F Major, Wq. 175: III. Tempo di menuetto
13. Symphony in E Minor, Wq. 178: I. Allegro assai
14. Symphony in E Minor, Wq. 178: II. Andante moderato
15. Symphony in E Minor, Wq. 178: III. Allegro
Brilliant Classics’s generous celebration of one of 2014’s principal anniversary composers continues with these three-movement ‘symphonies’ that may not yet have the breadth or weight that later composers of the Classical period would invest in the genre such as we know it now, but still move forward from the kind of pot-pourri sinfonia that would open an opera or function as an incidental intermezzo. In this, as in so much of his output, CPE Bach stands between periods, perhaps hitherto more appreciated for where his music leads than its own qualities and quirks, which are legion: as purveyor of a new ‘Empfindsamer Stil’ or ‘sensitive style’, CPE took the application of rhetorical principles within ‘abstract’ musical narratives to unparalleled heights, with an almost postmodern disregard for the niceties of formal elegance and an apparently unquenchable glee in composing the unexpected. These symphonies are full of unlikely turns, zestful energy and the juxtaposition of curious ideas.
The Dutch conductor Hartmut Haenchen has been a staunch advocate for this music through his career, making pioneering recordings that use ‘traditional’ instruments but speak the composer’s language with tremendous enthusiasm and eloquent understanding.
01. Symphony in E-Flat Major, Wq. 179: I. Prestissimo
02. Symphony in E-Flat Major, Wq. 179: II. Larghetto
03. Symphony in E-Flat Major, Wq. 179: III. Presto
04. Symphony in F Major, Wq. 181: I. Allegro
05. Symphony in F Major, Wq. 181: II. Andante
06. Symphony in F Major, Wq. 181: III. Allegro assai
07. Symphony in C Major, Wq. 174: I. Allegro assai
08. Symphony in C Major, Wq. 174: II. Andante
09. Symphony in C Major, Wq. 174: III. Allegro
10. Symphony in F Major, Wq. 175: I. Allegro assai
11. Symphony in F Major, Wq. 175: II. Andante
12. Symphony in F Major, Wq. 175: III. Tempo di menuetto
13. Symphony in E Minor, Wq. 178: I. Allegro assai
14. Symphony in E Minor, Wq. 178: II. Andante moderato
15. Symphony in E Minor, Wq. 178: III. Allegro
Brilliant Classics’s generous celebration of one of 2014’s principal anniversary composers continues with these three-movement ‘symphonies’ that may not yet have the breadth or weight that later composers of the Classical period would invest in the genre such as we know it now, but still move forward from the kind of pot-pourri sinfonia that would open an opera or function as an incidental intermezzo. In this, as in so much of his output, CPE Bach stands between periods, perhaps hitherto more appreciated for where his music leads than its own qualities and quirks, which are legion: as purveyor of a new ‘Empfindsamer Stil’ or ‘sensitive style’, CPE took the application of rhetorical principles within ‘abstract’ musical narratives to unparalleled heights, with an almost postmodern disregard for the niceties of formal elegance and an apparently unquenchable glee in composing the unexpected. These symphonies are full of unlikely turns, zestful energy and the juxtaposition of curious ideas.
The Dutch conductor Hartmut Haenchen has been a staunch advocate for this music through his career, making pioneering recordings that use ‘traditional’ instruments but speak the composer’s language with tremendous enthusiasm and eloquent understanding.
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