Bach Aria Soloists - Le Dolce Sirene - COMPACT DISCS [CD]

In Carl Philipp Emanuel Bach's catalogue, the music for solo keyboard and the chamber music occupy central positions. In his youth, Carl Philipp Emanuel, who was left-handed, did not play string instruments such as the violin or viola, but rather the harpsichord and organ (not to overlook the flute). It was as a harpsichordist that, in 1738, he joined the entourage of the future King of Prussia, Frederick II, before following him to Berlin upon his accession two years later and then formally entering his service. In 1767, he was offered the succession of his godfather, Telemann, as director of music in Hamburg. He arrived in the Hanseatic city in March 1768, and for the last twenty years of his life, it was church music that occupied much of his time and effort. The symphonies of Carl Philipp Emanuel Bach are all in three movements, quite often linked without a break. Highly original and typical of north Germany, the symphonies turn their back on the style gallant, on Johann Stamitz, founder of the Mannheim School, and on the Viennese style. The Concerto in A major was originally written for harpsichord and strings, but was later transcribed for cello by the composer, likely for the cellist Christian Friedrich Schale, who hosted a Musikalische Assemblee in his Berlin home every week.

Album Tracks 1. Kann Ich Nur Jesum Mir Zum Freunde Machen 2. Ich Will Leiden, Ich Will Schweigen 3. Der Ewigkeit Saphirnes Haus 4. Sinfonia 5. Bleibt Ihr Engel, Bleibt Bei Mir! 6. Ach, Schlage Doch Bald, Selge Stunde 7. Sinfonia 8. Wie Hast Du Dich, Mein Gott, in Meiner Not 9. Bache Von Gesalznen Zahren 10. Sinfonia 11. Die Liebe Zieht Mit Sanften Schritten 12. Seht, Was Die Liebe Tut 13. Sanfte Soll Mein Todeskummer 14. Sinfonia D Major

Johann Sebastian Bach never hesitated to adapt, rework and truly metamorphose his own music with remarkable aplomb. There is no shortage of examples. It is this model of transcription that the D!ssonanti ensemble has sought to follow in the programme on this disc. With the notable exception of the Ciaccona BWV 1004, originally written for solo violin - and already the subject of countless transcriptions throughout the ages - they have for the most part drawn on the keyboard repertoire, and in particular the great organ, an instrument that is both fascinating and sometimes a little intimidating. The Passacaglia and Thema Fugatum BWV 582, almost always written for four voices, is the culmination of this repertoire.Each of the members of the ensemble, in the course of a busy life spent in contact with Bach's music played on period instruments and with a concern for authenticity in the most prestigious ensembles (Les Arts Florissants, Pygmalion, Freiburger Barockorchester, Amsterdam Baroque Orchestra, Concerto Copenhagen...), have acquired sufficient proximity to his musical language to respect, if not the letter, at least the spirit. InchOur hope is to use these adaptations to show Bach in a light that is both new and familiar. A protean Bach that we've had a lot of fun imagining - and the treasure chest we've opened is not about to close again...Inch.