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Sinfonien Wq 173, 178, 179. Cembalo-Konzert Wq.20 / Cello-Konzert Wq. 170

Alpermann, Bruns, Akademie für Alte Musik Berlin
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    At the end of the 18th century, the most famous member of the Bach family was not Johann Sebastian, but his son, Carl Philipp Emanuel! This prominent representative of the school of German, and more especially Prussian composers, a pioneer of Empfindsamkeit (the cult of “sensibility”), was prized above all for what his contemporaries termed his “originality” – by which they meant the sovereign ease with which he forged his own style. To understand this, one need only listen to the nine symphonies from his Berlin period, whose radical departure from traditional forms symbolises a stylistic revolution in itself. As for his innovative treatment of the concerto, which overturns all the principles of symmetry so dear to Baroque composers, it seems already to prefigure Romanticism.

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    CARL PHILIPP EMANUEL BACH [1714-1788] Symphonie Wq 179 en Mi bémol majeur / E flat major / Es-dur · Prestissimo (4'15) · Larghetto (4'00) · Presto (2'40) Concerto pour clavecin, cordes et basse continue Wq 20 / Concerto for harpsichord, strings and basso continuo / Konzert für Cembalo, Streicher und Basso continuo · [Ohne Satzbezeichnung] (10'45) · Adagio ma non troppo (8'13) · Allegro assai (5'18) Symphonie Wq 178 en mi mineur / E minor / e-moll · Allegro assai (3'59) · Andante moderato (3'43) · Allegro (3'17) Concerto pour violoncelle, cordes et basse continue en la mineur Wq 170 / Concerto for violoncello, strings and basso continuo in A minor / Konzert für Violoncello, Streicher und Basso continuo a-moll · Allegro assai (10'19) · Andante (7'54) · Allegro assai (6'13) Symphonie Wq 173 en Sol majeur / G major / G-dur · Allegro assai (2'37) · Andante (2'38) · Allegretto (2'55)

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