Cpe Bach Concertos Loffier

Trost im Leid veut rendre hommage aux plus beaux lieder sacrés composés pendant la maturité de Carl Philipp Emanuel BACH, sélectionnés parmi les 250 qu'il nous a laissés au total. Inédits pour la plupart, ces magnifiques lieder laissent s'éclipser graduellement l'influence baroque au profit des thèmes et des contrastes propres au style classique de Haydn et Mozart.

Why is it that cellists who bemoan their lack of concerto repertory continue to neglect CPE Bach's three essays in the genre? It's a mystery; they're excellent pieces, full of infectious nervous energy in their outer movements and tender lyricism in central ones. They aren't unknown to the recording catalogues, however, not least because they also exist in alternative versions which the composer made for flute and harpsichord.

He is one of the "superstars" of the piano world. An exceptional teacher – his pupils include stars such as Arcadi Volodos or Claire-Marie Le Guay – Dmitri Bashkirov’s debut with Claves combines a most original programme with orchestra. Face to face; we have: Johann Sebastian Bach’s most famous son; Carl Philip Emanuel; forbearer of the great Romantic composers; and an unusual Ludwig van Beethoven. This particular Concerto op. 61a is indeed very rarely played; copying almost note for note the original score of the Violin Concerto op. 61.

The Berlin public of the mid-Eighteenth Century was fascinated by the ‘original genius’ of C. P. E. Bach and never tired of listening to his concertos. These works call for a talented soloist capable of mastering the multiple facets of an original and finely worked musical texture: a challenge taken up with panache (and on a period instrument) by the oboist Xenia Löffler, surrounded by her distinguished colleagues of the Akademie für Alte Musik Berlin.

This extensive release collects together all the recordings Café Zimmermann has made for Alpha: the fruit of many years of work, research and collaboration. Each separate performance has been realized with the greatest care, both in selecting the interpreting artists and in seeking out the very best acoustic conditions for the recording: the instruments, locations, and ample, well-calibrated sound balance have all been perfectly captured by Hugues Deschaux and d'Aline Blondiau, who from first to last ensured an entirely unprecedented sound transparency for every instrumental line. The combination of these elements has contributed to make Café Zimmermann a landmark among baroque ensembles. Here is a sixteen-album set to celebrate the ensembles 20th anniversary!