Cpe Bach Concertos Loffier

This is an outstanding recital of Bach chamber-music playing in which four concertos (Stradivaria could have fitted in one more, in truth) bask in their own colours with a rare combination of infectious energy, quicksilver alertness among a single-string ensemble and not a hint of the affectedness which has blighted so many performances of these works in recent years. …nothing can detract from the thoughtfulness, personality and fun which radiate from this wonderful recital.

This is an outstanding recital of Bach chamber-music playing in which four concertos (Stradivaria could have fitted in one more, in truth) bask in their own colours with a rare combination of infectious energy, quicksilver alertness among a single-string ensemble and not a hint of the affectedness which has blighted so many performances of these works in recent years. …nothing can detract from the thoughtfulness, personality and fun which radiate from this wonderful recital.

This is no ordinary recording of J.S. Bach’s six masterpieces of Baroque instrumental music. For starters, the pieces are interwoven with period-instrument transcriptions of piano music written in the early 1950s by Russian composer Dmitri Shostakovich.

For the 300th anniversary of C. P. E. Bach’s birth, Alpha proposes discovering the work of one of the Cantor’s sons from an original angle: that of the Alexis Kossenko’s flute.
In this boxed set, Alpha has brought together the complete Flute Concertos as well as the marvellous Trio Sonatas, masterpieces that allow for discovering Carl Philipp Emanuel’s close connection with the traverso, and also perceiving Alexis Kossenko’s strong ties with this brilliant composer.

Carl Philipp Emanuel was the most famous son of the great Johann Sebastian. He developed his own musical language, the Empfindsamer Stil, of which the expression of personal feelings, a free and sometimes improvisatory style and the frequent alternation of opposing moods and characters were the keywords. His music can be both charming and vehement, may please or shock the listener, can be simple of complicated: a perfect example of the Sturm und Drang movement of his period.

Over the course of his career, Steven Isserlis has performed the two cello concertos of Franz Joseph Haydn with several orchestras, and recorded them previously with the Chamber Orchestra of Europe on RCA. This 2017 Hyperion release features Isserlis performing Haydn's Cello Concerto No. 1 in C major, H. 7b:1 and the Cello Concerto No. 2 in D major, H. 7b:2 with the Deutsche Kammerphilharmonie Bremen in a lively, all-Classical program that also includes Carl Philipp Emanuel Bach's Cello Concerto No. 3 in A major, H439, and two short filler pieces, Isserlis' arrangement of Geme la tortorella from Wolfgang Amadeus Mozart's La finta giardiniera, and the Adagio from Luigi Boccherini's Cello Concerto in G major, G480.

Over the course of his career, Steven Isserlis has performed the two cello concertos of Franz Joseph Haydn with several orchestras, and recorded them previously with the Chamber Orchestra of Europe on RCA. This 2017 Hyperion release features Isserlis performing Haydn's Cello Concerto No. 1 in C major, H. 7b:1 and the Cello Concerto No. 2 in D major, H. 7b:2 with the Deutsche Kammerphilharmonie Bremen in a lively, all-Classical program that also includes Carl Philipp Emanuel Bach's Cello Concerto No. 3 in A major, H439, and two short filler pieces, Isserlis' arrangement of Geme la tortorella from Wolfgang Amadeus Mozart's La finta giardiniera, and the Adagio from Luigi Boccherini's Cello Concerto in G major, G480.

The Flute Concertos of C.P.E. Bach are among the most dramatic and engrossing of this important composer's works. This Bach was a major influence on Haydn and Mozart, but the music is worth hearing in its own right, and the Concerto in A Minor, which opens this set, is one of the masterpieces of its era. Gallois and the Toronto Camerata use modern instruments, but their performances are permeated by the sensibility of Bach's era. They are clear and forceful, responding beautifully to the pre-romantic elements in the music, and Gallois even adds appropriate embellishments to his playing.

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 reissue of 1982 recordings of C.P.E. Bach's concerto for harpsichord and piano Wq. 47 (Helm 479) and sonatina Wq. 109 (H. 453), and an undated recording of the concerto for 2 harpsichords Wq. 46 (H. 408), would be a worthwhile disc even without the bargain-basement price. The Wq. 47 concerto is uniquely important in C.P.E.'s output–it is the last concerto the composer wrote–but this disc seems to be the only readily available recording at this writing! Happily, the performance is splendid, as is that of the sonatina…

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