W.f. Bach

Reinhard Goebel, Musica Antiqua Köln - C.P.E. & W.F. Bach: Concertos for two harpsichords (1986)

Reinhard Goebel, Musica Antiqua Köln - C.P.E. & W.F. Bach: Concertos for two harpsichords (1986)
EAC | FLAC | Image (Cue & Log) ~ 297 Mb | Total time: 60:09 | Scans included
Classical | Label: Archiv Produktion | 419 256-2 | Recorded: 1985

It was the Bachs who launched the harpsichord on its career as a concerto soloist and the sons did not wait to follow in father's wake; the first of Carl Philipp Emanuel's 52 concertos, spanning more than 50 years, probably just predates the first of JSB's. Neither did they pursue the practice of having more than two soloists. In his F major Concerto (the numbering of which differs from that given in Grove: H410, Wq46) CPE accepts the formal plan of the ritornello but not the concept of its unity of thematic mood; he introduces a diversity that is more like that of the exposition in sonata form—though the resemblance ends there, and the element of contrast is maintained in the 'solo' episodes, not derived from the ritornello material.
Jeanne Lamon, Tafelmusik - W.F. Bach: Sinfonias; Suite in G minor; Concerto for Harpsichord in D major (1997)

Jeanne Lamon, Charlotte Nediger, Tafelmusik - Wilhelm Friedemann Bach: Sinfonias; Suite in G minor; Concerto for Harpsichord in D major (1997)
EAC | FLAC | Image (Cue & Log) ~ 348 Mb | Total time: 71:41 | Scans included
Classical | Label: Sony Classical | # SK 62720 | Recorded: 1996

The well-known painting of Wilhelm Friedemann Bach reproduced on the cover of this CD must be one of the most immediately attractive composer portraits ever made. The wide-brimmed hat, the fur-lined coat, the wisp of steely hair and, above all, the reddened but unmistakably genial face (displaying, if I’m not mistaken, his father’s nose) suggest a man one would want to accompany straightaway to the nearest coffee-house. But Friedemann was actually a little more complex than that, both as a person who could be lazy and argumentative and as a talented musician torn between the styles of the late baroque and early classical periods, so it is perhaps no surprise to find that there is considerable variety in the music on this disc.
Gustav Leonhardt - Clavichord Recital: Ritter, J.S. Bach, W.F. Bach, C.P.E. Bach (1990)

Gustav Leonhardt - Clavichord Recital: Ritter, J.S. Bach, W.F. Bach, C.P.E. Bach (1990)
EAC | FLAC | Image (Cue & Log) ~ 410 Mb | Total time: 68:25 | Scans included
Classical | Label: Philips | 422 349-2 | Recorded: 1988

Here is another of Gustav Leonhardt's mixed programmes but this one, unlike the earlier European grand tour ((CD) 426 352-2PH, 4/90), is confined to German repertory and is played not on the harpsichord but on the clavichord. The earliest music is by Christian Ritter, who was born in the mid seventeenth century and who was based mainly in Halle where he was employed as an organist. His Suite in F sharp minor is an appealing work somewhat in the manner of Froberger; the opening Allemande is beautifully written and well sustained and the poignant Sarabande an affecting piece built on a descending octave pattern which gives it the character of a lament.
Miriam Feuersinger, Zürcher Barockorchester - La Dresda Galante: Vivaldi, Hasse, W.F. Bach,  Ristori, Heinichen (2014)

Miriam Feuersinger, Zürcher Barockorchester - La Dresda Galante: Vivaldi, Hasse, W.F. Bach, Ristori, Heinichen (2014)
EAC | FLAC | Image (Cue & Log) ~ 346 Mb | Total time: 76:23 | Scans included
Classical | Label: Klanglogo | # AKL1508 | Recorded: 2013

The musical world of the eighteenth-century court at Dresden is characterised by its diversity: Vivaldi, Hasse, Ristori and Wilhelm Friedemann Bach were all highly esteemed. The Zürcher Barockorchester perform selections from this demanding repertoire and successfully transport listeners to Dresden’s vibrant Augustan era.
Attilio Cremonesi, Alessandro de Marchi - A duoi cembali: Mattheson, Schaffrath, W. F. Bach, Krebs (1997)

Attilio Cremonesi, Alessandro de Marchi - A duoi cembali: Mattheson, Schaffrath, W. F. Bach, Krebs (1997)
EAC | FLAC | Image (Cue & Log) ~ 402 Mb | Total time: 70:55 | Scans included
Classical | Label: Harmonia Mundi | # HMC 905235 | Recorded: 1995

The novelties here are the Mattheson works, the first two fully composed, the third a figured-bass exercise from Mattheson's treatise on the subject. The sonata is a dramatic, virtuoso outing in the Italian style; the suite, ostensibly more french in character, retains a typical German heaviness.
Guy Penson, Ricercar Consort, Il Fondamento - Wilhelm Friedemann Bach: Cembalo Konzerte (2010) 2CDs

Wilhelm Friedemann Bach: Cembalo Konzerte (2010) 2CDs
Guy Penson, clavecin, piano-forte; Ricercar Consort; Il Fondamento

EAC | FLAC | Image (Cue&Log) ~ 694 Mb | Mp3 (CBR320) ~ 368 Mb | Scans included
Genre: Classical | Label: Ricercar | # RIC297 | Time: 02:34:46

At the same time as we get to know Wilhelm Friedemann Bach’s compositions we can also take stock of the real personality of Johann Sebastian Bach’s eldest son. His works are still mostly unknown to the public at large and remain in the shadow of those by his brothers. It is true that his music still seems to be somewhat strange, imprisoned as it undoubtedly is by the composer’s profound inner drama. Born in 1710, Wilhelm Friedemann benefited more than any other of his brothers from the impact of his father’s personality; we may well remember the famous phrase attributed to Johann Sebastian «The son that gives me joy is the one that I love» ?
Claudio Astronio - Wilhelm Friedemann Bach: Complete Harpsichord Music [6CDs] (2017)

Claudio Astronio - Wilhelm Friedemann Bach: Complete Harpsichord Music [6CDs] (2017)
EAC | FLAC | Image (Cue & Log) ~ 2,52 Gb | Total time: 6:43:08 | Scans included
Classical | Label: Brilliant Classics | # 94240 | Recorded: 2015-2017

The son of the peerless Johann Sebastian, Wilhelm Friedemann was the least famous Bach of his time. Yet he is now regarded by some as the most brilliant of the Bach children, and is occasionally reported to have been his father's favourite. A master of numerous different keyboard instruments, he was not particularly prolific, and of his 100 or so known works, many remained unprinted until the 20th century.
Ralf Otto, L'arpa festante, Bachchor Mainz - Wilhelm Friedemann Bach: Kantaten I (2010)

Ralf Otto, L'arpa festante, Bachchor Mainz - Wilhelm Friedemann Bach: Kantaten I (2010)
EAC | FLAC | Image (Cue & Log) ~ 375 Mb | Total time: 79:01 | Scans included
Classical | Label: Carus | # 83.362 | Recorded: 2010

When on 12 May 1764 Wilhelm Friedemann Bach tended his resignation as Music Director and Organist at Halle a brilliant musical epoch came to an inglorious end. From the time of Samuel Scheidt the position of organist of the Halle Marktkirche had always been occupied by outstanding virtuosi and composers, and with W. F. Bach the last of them quit the service. The twenty or so surviving Halle cantatas by Wilhelm Friedemann Bach form a long-neglected body of music which is in many respects unparalleled. They represent extraordinarily individual attempts to emulate the musical achievements of his great paternal teacher and model, and to develop them further. Thus this son of Bach arrived at solutions to problems in his works which strive repeatedly towards grace and pathos, brilliance and originality, artistic diversity and natural simplicity.

Siegbert Rampe - W.F. Bach: Polonaises (2009)  Music

Posted by tirexiss at Sept. 6, 2021
Siegbert Rampe - W.F. Bach: Polonaises (2009)

Siegbert Rampe - W.F. Bach: Polonaises (2009)
WEB | FLAC (tracks) - 436 MB | 01:07:18
Genre: Classical | Label: MDG Gold

Although finally welcomed into the classical canon – with some trepidation late in the 20th century, mostly among the cognoscenti, Wilhelm Friedemann Bach remains a bit of a cipher to many listeners, among the musical sons of Bach whom they've never heard anything from. The experts who love him attest to his high level of enigmatic eccentricity and his sense of stylistic separation from any other Bach son, and this echoes to some extent what Carl Friedrich Zelter remembered about him long after Bach's death; "As a composer he was driven by a need to be original, to distance himself from his father and brothers." But also, as Zelter continued, "he fell into fussiness, pedantry and futility."
Jürgen Ochs, Rastatter Hofkapelle - Wilhelm Friedemann Bach: Kantaten II (2010)

Jürgen Ochs, Rastatter Hofkapelle - Wilhelm Friedemann Bach: Kantaten II (2010)
EAC | FLAC | Image (Cue & Log) ~ 310 Mb | Total time: 66:35 | Scans included
Classical | Label: Carus | # 83.429 | Recorded: 2010

Wilhelm Friedemann Bach was Director of Music in Halle from 1746 to 1764. This position was in many respects similar to that of Johann Sebastian Bach’s in Leipzig. Certainly, in performing his duties Friedemann Bach largely followed the example of his father – whether in matters of organ playing, choice of repertoire or making demands of the musicians. W. F. Bach was required to perform a cantata every third week and also on all feast days. The cantatas and Mass compositions performed here for the first time are works from this era – outstanding artistic contributions to the genre of the church cantata after J. S. Bach. Under the direction of Jürgen Ochs the eight singers of the Rastatter Hofkapelle perform both the choral as well as solo passages.