CARL PHILIPP EMANUEL Bach : Sonatas & Rondos (Marc-André Hamelin) 2CD (2022) FLAC (image+.cue) lossless

The music of C P E Bach makes complex stylistic demands of the performer like little else of its time, the extraordinary drama and intensity tempered by Enlightenment elegance and the influence of the Baroque. Marc-André Hamelin’s performances set new standards in this endlessly absorbing repertoire. hyperion-records.co.uk   Tracklist & Credits :

CARL PHILIPP EMANUEL | JOHANN CHRISTIAN | JOHANN SEBASTIAN BACH : Keyboard Concertos (Anastasia Injushina · Hamburger Camerata · Ralf Gothoni) (2013) FLAC (image+.cue) lossless

Carl Philipp Emanuel Bach (1714-1788)
[1]-[3] Concerto in D major, Wq 43/2

Johann Christian Bach (1735-1782)
[4]-[5] Concerto in D major, Op. 7/3
[6]-[8] Concerto in E flat major, Op. 7/5

Johann Sebastian Bach (1685-1750)
[9]-[11] Concerto No. II in E major, BWV 1053

Anastasia Injushina: Piano
Hamburger Camerata
Ralf Gothóni : Conductor

C.P.E. BACH : The Solo Keyboard Music, Vol. 1 (Miklós Spányi)

 

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 1 (Miklós Spányi)

(1997) Bis / CBR320k / scans 

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C.P.E. BACH : The Solo Keyboard Music, Vol. 2 (Miklós Spányi)

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 2 (Miklós Spányi)

(1997) Bis / CBR320k / scans 

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C.P.E. BACH : The Solo Keyboard Music, Vol. 3 (Miklós Spányi)

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 3 (Miklós Spányi)

(1997) Bis / CBR320k / scans 

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C.P.E. BACH : The Solo Keyboard Music, Vol. 4 (Miklós Spányi)

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 4 (Miklós Spányi)

(1999) Bis / CBR320k / scans 

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C.P.E. BACH : The Solo Keyboard Music, Vol. 5 (Miklós Spányi)

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 5 (Miklós Spányi)

(2000) Bis / CBR320k / scans 

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C.P.E. BACH : The Solo Keyboard Music, Vol. 6 (Miklós Spányi)

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 6 (Miklós Spányi)

(2001) Bis / CBR320k / scans 

O Púbis da Rosa

C.P.E. BACH : The Solo Keyboard Music, Vol. 7 (Miklós Spányi)

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 7 (Miklós Spányi)

(2001) Bis / CBR320k / scans 

O Púbis da Rosa

C.P.E. BACH : The Solo Keyboard Music, Vol. 8 (Miklós Spányi)

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 8 (Miklós Spányi)

(2002) Bis / CBR320k / scans 

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C.P.E. BACH : The Solo Keyboard Music, Vol. 9 (Miklós Spányi)

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 9 (Miklós Spányi)

(2002) Bis / CBR320k / scans 

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C.P.E. BACH : The Solo Keyboard Music, Vol. 10 (Miklós Spányi)

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 10 (Miklós Spányi)

(2003) Bis / CBR320k / scans 

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C.P.E. BACH : The Solo Keyboard Music, Vol. 11 (Miklós Spányi)

All four works on Vol. 11 of Miklos Spanyi's survey of the complete solo keyboard works of C.P.E. Bach are world-premiere recordings. Think of it: world-premiere recordings of works by the second and by far greatest of the sons of J.S. Bach, including the first recording of his first work in a genre that he was to make his own: the fantasia. Does it get any better than this?
For lovers of the passionate, the intellectual, and the very civilized C.P.E. Bach, the answer is no. Although even the most dedicated C.P.E. devotee will have to admit that while none of these world premieres are Bach at his best, they are still fascinating works. Written in the 1740s while Bach was Frederick the Great's composer in residence, the works on this disc are astoundingly innovative, astonishingly exploratory, amazingly emotional, and staggeringly difficult works. As he has in the previous ten volumes of the series, Spanyi performs Bach with the unique combination of improvisation and concentration necessary to rush with giddy abandon through breakneck arpeggios and still maintain complete control over every aspect of structure and every detail of articulation. And as they have in the previous volumes, BIS puts Spanyi's instrument, in this case a 1999 copy of a 1749 Silbermann fortepiano, in a hugely empty acoustic, making his instrument sound like Jokanaan in the cistern Salome.  by James Leonard  

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 11 (Miklós Spányi)

(2004) Bis / CBR320k / scans 

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C.P.E. BACH : The Solo Keyboard Music, Vol. 12 (Miklós Spányi)

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 12 (Miklós Spányi)

(2004) Bis / CBR320k / scans 

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C.P.E. BACH : The Solo Keyboard Music, Vol. 13 (Miklós Spányi)

Miklós Spányi is recording all of the keyboard music of Carl Philipp Emanuel Bach for the Swedish label BIS on original instruments, namely harpsichord, clavichord, and fortepiano. On C.P.E. Bach: The Solo Keyboard Music, Vol. 13, the fortepiano gets the nod, in particular a reconstruction by Michael Walker of a 1749 Silbermann piano of the kind C.P.E. Bach commonly used himself, and the only type of piano ever tried out by his father, Johann Sebastian Bach. by Uncle Dave Lewis  

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 13 (Miklós Spányi)

(2005) Bis / CBR320k / scans 

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C.P.E. BACH : The Solo Keyboard Music, Vol. 14 (Miklós Spányi)

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 14 (Miklós Spányi)

(2005) Bis / CBR320k / scans 

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C.P.E. BACH : Concetos & Solo Keyboard Music, Vol. 15 (Miklós Spányi)

 As Miklós Spányi's concurrent editions of Carl Philipp Emanuel Bach's keyboard concerti and solo keyboard music both run to 14 volumes and the end is at hand, BIS has decided to combine the final volumes of both series into a single, two-disc package. One might wonder if this was an afterthought, as each disc has its own booklet, nevertheless there is a third, four-leaf booklet included that contains a contents listing for the entire series. Overall, this has been an excellent series, introducing many important C.P.E. Bach works to record for the first time, particularly in the case of the concertos. The final volume is in essence no different from the others; the clavichord and tangent piano are recorded at some distance, not so bad in the solo works but a bit more of a challenge in balancing some of the concerti. Nevertheless, we have reached the end of the series and BIS isn't about to change its working habits to accommodate this mild objection.

From the standpoint of sheer playing, Spányi's work has been exemplary in all 30 volumes. Sometimes his approach can be a little dry and rigid in tempo, but as so many of these works are unfamiliar, that's a good deal better option than performances that might be all over the map in terms of tempo and expression. It's easy to read that into C.P.E. Bach's scores given his advancement of the concept of empfindsamer stil, a type of expressive playing that foreshadows some aspects of Romanticism. The question is always just how expressive does one want to go, and when is it appropriate? Clearly some of the minuets and other dances are just ordinary pieces that do not need additional expressive juicing, and in practically all cases, Spányi decides that restraint is the better option.

Among specific pieces on Concertos & Solo Keyboard Works, Vol. 15, is the most famous of C.P.E. Bach's piano concertos, the Concerto in D minor, Wq. 23, a serious, quirky, and reflective work that has been in circulation since the nineteenth century. The other two concerti are little less emotionally involved, but both have their virtues -- take for example the luscious and expansive Largo that opens the Sonatina in E flat, Wq. 105 -- and all three are realized very nicely here. The solo keyboard disc combines 13 of Bach's character pieces combined with two sonatas likely built up out of other character pieces; most striking of these being La Caroline (likely dedicated to Bach's daughter); the untitled Andantino in D minor, Wq. 116/18; and the combined pieces La Xenophon and La Sybille, played as a da capo pair.

Usually wrap-up volumes to long series like these tend to be kind of like taking out the composer's trash, tidying up the oddments and fugitive pieces that don't fit in elsewhere. Not only would BIS and Spányi's C.P.E. Bach: Concertos & Solo Keyboard Works, Vol. 15, serve as an excellent introduction to the series as a whole, but also to the listener who hasn't heard any of the previous volumes. by Uncle Dave Lewis 

 C.P.E. BACH (1714-1788)

Concetos & Solo Keyboard Music, Vol. 15 (Miklós Spányi)

(2006) Bis / CBR320k / scans 

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C.P.E. BACH : The Solo Keyboard Music, Vol. 16 (Miklós Spányi)

While it wouldn't be fair to say that with volume 16 of his survey of complete solo keyboard music of C.P.E. Bach clavichordist Miklós Spányi has finally gotten to the good stuff -- that would be to vastly underestimate the value of the previous 15 volumes -- it would also not be too terribly far from the truth. Because while there was plenty of good and great music in the earlier volumes -- who can forget the depths of the Prussian Sonatas? -- there was more than enough fair and forgettable music there, too -- who can remember all the lightweight sonatinas? Not so with volume 16 featuring the first three of Bach's six Würtemberg Sonatas -- three-movement wonders, every one. Written in 1745 and aimed directly at the most sophisticated of contemporary musical tastes, the Würtemberg Sonatas are substantial works -- they all last 20 or more minutes -- and, more importantly, highly expressive works -- their frequent tempo changes and textural shifts along with their wonderfully sensitive melodies make for challenging listening. As always, Spányi is a superb advocate of Bach's subtle and elusive music playing on supple and responsive clavichord, and he makes a strong case for these works. As always in this series, the sound is just a wee bit dim and muffled.  by James Leonard 

 C.P.E. BACH (1714-1788)

 The Solo Keyboard Music, Vol. 16 (Miklós Spányi)

(2007) Bis / CBR320k / scans 

O Púbis da Rosa