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Miklós Spányi continues his traversal of the keyboard concertos of Carl Philipp Emanuel Bach, a series which in Gramophone has been called a ‘unique monument to one of the 18th century's most underrated composers’.
Spányi joins forces with the Hungarian period band Concerto Armonico, and together they offer us the first four works in a set of six, the Sei Concerti per il cembalo concertato.
Composed during the early 1770s, the Sei Concerti were among the few concertos that C.P.E. Bach didn’t write specifically for himself to play. Bach’s aim was to make the works appealing to both players and listeners
For these works, Miklós Spányi has chosen to perform the solo part on a harpsichord, a copy of an instrument from 1745 by the Antwerp builder Joannes Daniel Dulcken.
Carl Philipp Emanuel Bach: Keyboard Concerto in F major, Wq. 43/1, H. 471
I. Allegro di molto
Carl Philipp Emanuel Bach: Keyboard Concerto in D major, Wq. 43/2, H. 472
I. Allegro di molto - Andante - Allegro di molto - Andante - Allegro di molto
Carl Philipp Emanuel Bach: Keyboard Concerto in E flat major, Wq. 43/3, H. 473
Carl Philipp Emanuel Bach: Keyboard Concerto in C minor, Wq. 43/4, H. 474
I. Allegro assai
II. Poco adagio
III. Tempo di minuetto
IV. Allegro assai
“Playing a handsome-sounding copy of a mid-18th century Dulcken harpsichord, Spanyi is fastidiously responsive to Bach's chameleon changes of mood.”
“[Spanyi attaches] swell shutters to his instrument (don't worry, it's quite authentic!), thus making possible crescendos and diminuendos...The performances themselves are very good, with neat, crisp fingerwork from Spanyi expertly balanced with one-to-a-part orchestra which is clean and efficient”