Carl Philipp Emanuel Bach

Carl Philipp Emanuel Bach

C.P.E. Bach probably is the best known of the Bach sons, but still is one of those underrated composer that don’t get played enough today.

His music really sits on this very interesting time of transition between baroque music, that his father still epitomises, and the Wiener Klassik period of Haydn and Mozart.

I’m also a bit responsible for not mentioning him enough, so far I’ve reviewed only one album by this composer, his excellent cembalo concertos with Andreas Staier.

C.P.E. Bach – Cello Concertos – Jean-Guihen Queyras – Riccardo Minasi – Ensemble Resonanz (Harmonia Mundi 2018)

Carl Philipp Emanuel Bach Cello Concertos Jean-Guihen Queyras Ensemble Resonanz Riccardo Minasi Harmonia Mundi 2018 24 48

I knew Riccardo Minasi from his past recordings with Il Giardino Armonico and several other baroque ensembles where he was still playing the violin. And I’ve mentioned his excellent activities with the Pomo d’Oro here, but had never heard of Ensemble Resonanz. It turns out its been active since 1994 and is located in Hamburg. Well, you never stop learning.

So, how do they play? Well I must admit for these works I have only a handful of other versions, including for example a recent release on Erato with Truls Mørk, and Ophelie Gaillard on Aparté.

How does this recording compare? Well, it really hasn’t have to hide. It is joyful, energetic, and nuanced. This really is a prime example that this composer deserves to be heard more!

Queyras’ sound on the cello is beautiful, not too heavy, but with a nice singing tone. He really nicely integrates with Ensemble Resonanz, the soloist never being the dominant player, but it is more a marriage of equals.

Overall: Very enjoyable!

My rating: 4 stars

You can find it here (Qobuz) and here (Prostudiomaster)

Johann Sebastian Bach, as it is rather well known, had a large family. A total of 6 sons. Most of them did some composing. Unfortunately, the only descendant of Bach that I personally find interesting is Carl Philipp Emanuel, often abbreviated as CPE (I’ve written a bit about Wilhelm Friedemann here).

CPE had a major influence on music, including on one of the greatest names ever, Mozart. Mozart did meet CPE, and reportedly has said about him “Er ist der Vater; wir sind die Bubn. Wer von uns was Rechts kann, hats von ihm gelernt.” (which roughly translates into “he (CPE) is the father, we are the children. Whoever of us know how to compose, has learned from him”).

CPE Bach in a way, musically speaking is the “missing link” between the Baroque period of JS Bach and Händel, and the Viennese classical period of Mozart and Haydn. In his music you still have some elements of the former, but much more points to the latter. I suggest you check out this nice Guardian article if you want to know more about the composer.

Andreas Staier

I’ve written several times about the German pianist and harpsichordist Andreas Staier. Most of the time I just love his recordings (e.g. Schubert’s Winterreise, Bach’s Clarinet Sonatas, or his great Diabelli variations). Occasionally I’m disappointed, particularly with his recording of the JS Bach keyboard concertos (see A Disappointment From Andreas Staier – How Can That Be?).

I was particularly disappointed in the JS Bach recording mentioned above as I just love this CPE bach recording I’m writing about here, so I had particularly high expectations.

CPE Bach: Six Harpsichord Concertos – Andreas Staier – Petra Müllejans – Freiburger Barockorchester (Harmonia Mundi 2011)

So what do you get? Sheer brilliance! Staier and the Freiburgers really put all their energy in making this music shine. And what beautiful music it is. I personally would put CPE Bach higher than Haydn in my personal appreciation.

This is really exicing and passionate playing, which will draw you in. This album deservedly received the Gramophone Award in its category in 2011 (interestingly, they put it under “baroque instrumental”, not sure I’d 100% agree).

Check it out!

My rating: 5 stars

You can find it here (Qobuz) and here (Prestoclassical)