1 LP - Amadeo AVRS 6358

LEIPZIG - Klingendes Barock - 8

Johann Christian Bach (1735-1782)

1. Symphonie Nr. 2, B-dur, für 2 Klarinetten, 2 Hörner u. Fagott 10' 13" A1
- Allegro · Larghetto - Marche - Rondeau (Allegro)

Johann Christoph Friedrich Bach (1732-1795)

2. Sonate für Klavier, Flöte und Violoncello, D-dur 14' 31" A2
- Allegro con spirito · Andante · Rondo. Scherzo

Carl Philipp Emanuel Bach (1714-1788)

3. Quartett für Klavier, Flöte, Viola und Violoncello, a-moll 12' 13" B1
- Andantino · Largo e sostenuto · Allegro assai

Wilhelm Friedemann Bach (1710-1784)

4. Sonate für Cembalo, Flöte, Violine und Violoncello, F-dur 10' 42" B2
- Largo · Allegretto · Allegro assai e scherzando

Momoo Kishibe, Violine (B2) Hatto Bayerle, Viola (B1)

Wilfried Boettcher, Violoncello (A2, B1, B2) Helmut Riessberger, Flöte (A2, B1, B2)
Rolf Eichler, Klarinette (A1) Gottfried Mayer, Klarinette (A1)
Robert Freund, Horn (A1) Hannes Sungler, Horn (A1)
Walter Hermann Sallagar, Fagott (A1) Hans Kann, Klavier und Cembalo (A2, B1, B2)

Luogo e data di registrazione

Registrazione: live / studio

Edizione LP
AMADEO - AVRS 6358 - (1 lp) - durata: 47' 39" - (p) 1966 - Analogico

Altre edizioni LP

MUSICAL HERITAGE SOCIETY - MHS 545 - (1 lp) - (2, 3, 4)

Prima Edizione CD

Stereo compatibile

The rivalry between Leipzig and the neighbouring capital of Dresden provided a constant stimulus to the essenatially middle-class musical life of Leipzig. And it was a redletter day in Leipzig's history when in 1723 J. S. Bach was appointed "Thomaskantor" at Leipzig. Through him and his gifted sons the name of Bach became indelibly associated with Leipzig.
The Symphony No 2 for Wind Instruments by Johann Christian Bach was written in 1760, a year to which a number of other works for the same medium also be. They were probably meant to be performed out of doors. The unusual designation of the movements is an echo of an earlier genre for wind instruments, Divertimenti. On the other band, the way the thematic material is handled, and the deliberate instrumentation, show another side of J. C. Bach - the precursor of the classics.
The Sonata by Johann Christoph Friedrich Bach represents the transition from the "galant" style to the classical era of Haydn and Mozart. The greater part of the work is a duet between flute and piano, the cello continuo doubling the bass. The chief signs of the dawn of a new era are the lively movement in sonata form, a sentimental Andante in accord with the tastes of the time, and a Scherzo Finale that is pure Haydn.
The Quartet by Carl Philipp Emanuel Bach is most closely akin to the music of his illustrious father. The original title of the work, written in the composer's own hand, is: "Three quartets for fortepiano, flute and viola": hence the use of a piano instead of a harpsichord. The first movement is perhaps te finest, an example of organic growth from a thematic germ. The second movement echoes his father's "cantilena" the piano part being of considerable originality. The third movement, with its lively rhythm, is an undisguised sop to rococo taste.
In the Sonata by Wilhelm Friedemann Bach the opening Largo is a distinct echo of his father's work, whereas the second movement is a blend of ancient and modern, in which the abruptness of the musical utterance and the striving after a more "galant" style produce a highly original effect. The last movement, carefree and gay, is out-and-out rococo.
Alfons Übelhör
(Translation: Richard Rickett)