C P E Bach - Complete Keyboard Concertos, Volume 18

BIS: BISCD1787

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C P E Bach - Complete Keyboard Concertos, Volume 18

Label:

BIS

Catalogue No:

BISCD1787

Discs:

1

Release date:

30th July 2012

Barcode:

7318590017876

Length:

68 minutes

Medium:

CD (download also available)
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C P E Bach - Complete Keyboard Concertos, Volume 18


Bach, C P E:

Keyboard Concerto in F major, Wq. 43/1 (H471)

Keyboard Concerto in D major, Wq. 43/2 (H472)

Keyboard Concerto in E flat major, Wq. 43/3 (H473)

Keyboard Concerto in C minor, Wq. 43/4 (H474)


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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

II. Andante

III. Prestissimo

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

II. Andante

III. Allegretto

Carl Philipp Emanuel Bach: Keyboard Concerto in E flat major, Wq. 43/3, H. 473

I. Allegro

II. Larghetto

III. Presto

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

BBC Music Magazine

September 2012

****

“Playing a handsome-sounding copy of a mid-18th century Dulcken harpsichord, Spanyi is fastidiously responsive to Bach's chameleon changes of mood.”

Gramophone Magazine

January 2013

“[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”

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