C.P.E. Bach - Keyboard Syms - COMPACT DISCS [CD]

This is Emanuele Cardi's fourth album for Brilliant Classics after recordings which display this talented organist's wide musical sympathies and talents. InchHe is a great connoisseur of Baroque repertoire,Inch noted the Spanish magazine Codalario of Cardi's Neapolitan album, Inchand it shows in his ability to give these pieces such native color this is a remarkable album.Inch On this occasion he has recorded an album which concludes with Bach's most famous yet possibly most spurious work for organ, the Toccata and Fugue in D minor, whose Italianate flourishes surely have their origin in a work for violin, whether or not by Bach himself. In fact an aesthetic conversation between Italy and Germany underlies the character of the album as a whole. Kittel, Krebs and Vogler were pupils of J.S. in Leipzig, and their work featured here is indebted to a greater or lesser extent to the example of their master; whereas his most talented son, C.P.E., struck out boldly in new directions of harmony and voicing, as demonstrated here by a C minor Fantasy and Fugue and the substantial A minor Sonata. The cousin of Pachelbel, Walther, like Bach, made many transcriptions for organ of concertos by Vivaldi and his contemporaries such as Corelli and Torelli. Walther's own concerto is a scintillating piece of dancing counterpoint in that tradition, marking quite a contrast to the chorale-based music of Bach's pupils in the first half of the album. Album Tracks 1. Fantasia Con Organo Pleno 2. So Gehst Du Nun, Mein Jesu, Hin 3. Präludium E-Moll 4. Preludio Pro Organo Pleno 5. Freu Dich Sehr, O Meine Seele (Choralfantasie) 6. Toccata 7. Fuge 8. Choral 9. A 2 Clav. Et Pedal 10. 1. Allegro 11. 2. Adagio 12. 3. Allegro 13. Fantasie 14. Fuge 15. 1. Allegro Assai 16. 2. Adagio 17. 3. Allegro 18. Toccata 19. Fuge

Album Tracks 1. Praludium 2. Fuge 3. Dearest Jesus, We Are Here 4. Trio in D minor 5. In Thee I Hope, Lord 6. Fantasia on Jesus, My True Pleasure 7. Fantasia on Jesus, My True Pleasure 8. God Alone on High We Praise 9. Now Rejoice, Ye Christians All 10. Now Rejoice, Ye Christians All 11. Little Harmonic Labyrinth 12. Wake, Arise, the Voices Call Us 13. Where Shall I Refuge Find/In My Dear Lord 14. The Man Who Leaves to God All Power 15. My Soul Praises the Lord 16. Oh Bide with Us, Lord Jesus Christ 17. Cometh Thou Now, Jesus from Heaven 18. Toccata and Fugue in F Major 19. Toccata and Fugue in F Major

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.