Cpe Bach Concertos Loffier

The Dutch recorder virtuoso Erik Bosgraaf goes back to Bach for this release, with an album of arrangements as imaginatively conceived and as stylishly executed as Volume 1 released in 2011. Bach wrote as inventively and idiomatically for the recorder throughout his career as he did for every other instrument at his disposal, but he left no concertos in which the instrument takes the spotlight. Thus Bosgraaf and his colleagues have attempted to answer the question, what might Bach have done, or could he have done, if he had written concertos for the recorder?

The Bern Friday Academy around oboist Katharina Suske has taken on several recent reconstructions of Bach concertos with verve and esprit, three of which have been recorded here for the first time alone."An album of hitherto unknown music by Johann Sebastian Bach would be a sensation! What may seem rather unlikely at first glance, the ensemble Die Freitagsakademie under the direction of Katharina Suske has nevertheless succeeded. Some of Bach's works that are considered lost today have been reconstructed in recent years and are now available on the album "Bach Concertos: Lost and Found", partly as first recordings.

Auf diesen Jubilar darf man sich lokalpatriotisch freuen, denn Carl Philipp Emanuel trägt zu Recht den Titel „der Berliner Bach“. Vor 300 Jahren wird er geboren, lernt beim Vater in Leipzig, studiert Jura an der Viadrina und entwickelt sich rasch zu einem der führenden Cembalisten. Friedrich II. nimmt ihn noch als Kronprinz in seine Kapelle auf.

The practice of composing for two keyboard instruments, very common in the illustrious Bach family, naturally achieved its apotheosis with Johann Sebastian, whose three concertos for two harpsichords are performed here by Olivier Fortin and Emmanuel Frankenberg with the Ensemble Masques. These works, particularly the concertos in C minor, are among the composer’s most admired. They suggest a conception of the concerto specific to Bach: rather than a dialogue between several individual entities, the piece presents a subtle intertwining of melodic lines and blurs the distinction between solo and tutti parts by making them respond to and quote each other, thus illustrating the principle of harmony dear to the composer. Finally, the recording on two harpsichords of the Prelude and Fugue BWV 552, originally composed for organ, is in keeping with the nineteenth-century tradition of transposing Bach’s works with the aim of giving their refined polyphony greater clarity.

La terza registrazione della collana Live at Amiata Piano Festival contiene i Concerti bachiani per 2, 3 e 4 pianoforti registrati dal vivo presso il Forum Fondazione Bertarelli il 30 agosto 2018 con protagonisti Mauruzio Baglini, Gianluca Luisi, Marcello Mazzoni, Andrea Padova, Marco Scolastra accompagni dai Solisti Filarmonici Italiani diretti da Federico Guglielmo.
Questo progetto discografico ha avuto inizio nel 2017 con l’album dedicato ad Haydn è stato concepito per tracciare una memoria storica del Festival.

In honor of CPE Bach's 300th birthday, hänssler CLASSIC will be releasing an exciting series of recordings dedicated to the music of this well known but hitherto neglected Bach son during the first 3 months of 2014. At the beginning there are the so-called “Hamburg” symphonies Wq 182, interpreted with great sensitivity and bite, when necessary, by the Stuttgart Chamber Orchestra under the renowned conductor and former violist of the Berlin Philharmonic, Wolfram Christ. Maestro Christ sees these works as expressive pieces, open to multiple interpretations that invite the listener to experience them as almost Romantic in their gesture and content. Deciding on a fortepiano continuo instrument is not only a historically informed decision, but contributes to a perfectly balanced overall sound.

The image of Wilhelm Friedemann Bach (1710– 84) most widely prevalent in our time is that of an eldest son as it were haunted by the memory of his father but who, nevertheless, crippled by gambling and drinking debts, was obliged to sell his share of the precious inheritance constituted by Johann Sebastian’s manuscripts. Yet he was also one of the first composers to carve out a ‘freelance’ existence, like Wolfgang Amadeus Mozart some years after him.

Rarely recorded on disc, Johann Sebastian Bach's concertos for three and four harpsichords illustrate the art of writing for keyboard and strings of which the composer was a pioneer.