Bach, CPE Keyboard Concertos Wq43
Daring concertos from a leading keyboard player and one of the finest period bands
View record and artist detailsRecord and Artist Details
Composer or Director: Andreas Staier, Carl Philipp Emanuel Bach
Genre:
Orchestral
Label: Harmonia Mundi
Magazine Review Date: 6/2011
Media Format: CD or Download
Media Runtime: 0
Mastering:
Stereo
Catalogue Number: HMC902083/4
Tracks:
Composition | Artist Credit |
---|---|
(6) Concertos for Keyboard, Two Flutes, Two Horns, Movement: F |
Carl Philipp Emanuel Bach, Composer
Andreas Staier, Composer Carl Philipp Emanuel Bach, Composer Freiburg Baroque Orchestra Petra Müllejans, Conductor |
(6) Concertos for Keyboard, Two Flutes, Two Horns, Movement: D |
Carl Philipp Emanuel Bach, Composer
Andreas Staier, Composer Carl Philipp Emanuel Bach, Composer Freiburg Baroque Orchestra Petra Müllejans, Conductor |
(6) Concertos for Keyboard, Two Flutes, Two Horns, Movement: E flat |
Carl Philipp Emanuel Bach, Composer
Andreas Staier, Composer Carl Philipp Emanuel Bach, Composer Freiburg Baroque Orchestra Petra Müllejans, Conductor |
(6) Concertos for Keyboard, Two Flutes, Two Horns, Movement: C minor |
Carl Philipp Emanuel Bach, Composer
Andreas Staier, Composer Carl Philipp Emanuel Bach, Composer Freiburg Baroque Orchestra Petra Müllejans, Conductor |
(6) Concertos for Keyboard, Two Flutes, Two Horns, Movement: G |
Carl Philipp Emanuel Bach, Composer
Andreas Staier, Composer Carl Philipp Emanuel Bach, Composer Freiburg Baroque Orchestra Petra Müllejans, Conductor |
(6) Concertos for Keyboard, Two Flutes, Two Horns, Movement: C |
Carl Philipp Emanuel Bach, Composer
Andreas Staier, Composer Carl Philipp Emanuel Bach, Composer Freiburg Baroque Orchestra Petra Müllejans, Conductor |
Author: Lindsay Kemp
Bach composed over 50 keyboard concertos, of which these are the six he published in Hamburg in 1772, four years after he had moved there from his dispiriting harpsichordist’s post at the Prussian court. The sense of creative release evident in the well-known string symphonies of 1773 is present in these concertos, too, and indeed it is their formal daring that has particularly excited Staier, to judge from the enthusiasm of his booklet-note. Unusual and boldly colliding key relationships, shock dynamic changes and experimental movement layouts rescued from apparent craziness by forward-looking cyclical procedures have Staier understandably likening Bach to Beethoven. Your ears can confirm the truth of the comparison when (for instance) the first movement of No 2 crashes into the start of the second; but Staier’s assessment of the extraordinary No 4 as a one-movement fantasia-concerto anticipating the intellectual processes of Schubert’s Wanderer Fantasy or Liszt’s B minor Sonata seems no less valid.
Of course, Bach might have done all this and still been boring, and it is true that the concerto genre has not always shown him at his most compelling. That is emphatically not the case here, however, and in any case there is little danger of anything ever sounding dull with these performers. Tautly driven fast movements whipped into shape by precision horns, graceful slower ones warmed by soft flutes and busy but intricately shaped solos are all realised with matchless expertise and an explosive energy to match Bach’s sparky imagination. Staier’s copy of a big Hass harpsichord, which has served him well on recent solo recordings and on which he makes free with the many register combinations, stands up to the superbly boisterous orchestra with ease. Marvellous stuff.
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