CPE Bach (Carl Philipp Emanuel)

[chasmaniac]

But how many of them are fronted by a parrot-in-a-blizzard? 

Zig Zig's presentation is precious, to be sure, but they've put out some zingers, including seminal sets by Ensemble Musica Nova of motets et al. by Machaut and Dufay. Material not up your street, Gurn, but I've come to expect good things behind those gauche designs!

[chasmaniac]

BRO will be sending along to me directly Herrn Professor Gellerts Geistliche Oden und Lieder,

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of which the following:

The term Lied is generally associated with songs for voice and piano by German composers of the 19th century, like Franz Schubert and Robert Schumann. But they didn't invent the Lied - they were part of a tradition which goes back to the middle of the 18th century. And even the composers of those days didn't invent the solo song - the first songs for solo voice on German text date from the early 17th century, as Johann Nauwach published his Teutsche Villanellen in 1627.
At the end of the 17th century the solo song disappeared, mainly due to the growing popularity of the Italian chamber cantata. In the 1730's attempts were made to bring the genre to life again, but to no avail because of a lack of quality. The first important collection of solo songs was Telemann's Oden of 1741. It was the new esthetic ideal of the Enlightenment that music should be 'simple' and 'natural' which proved to be an ideal breeding ground for the solo song. It is no surprise, then, that composers and poets who represented the German Enlightenment made attempts to recreate this genre. Among them were poets like Gleim, Kleist, Lessing and Schlegel, and composers like Agricola, the Graun brothers, Quantz, Franz Benda and Carl Philipp Emanuel Bach.

There were lively and extensive talks between these poets and composers. One of the subjects was the relationship between text and music. There was general agreement that the text was the main part of a song and that the music was a way of interpreting the text. In the preface to his collection of the Geistliche Oden und Lieder (Sacred Odes and Songs) on texts of Christian Fürchtegott Gellert, Bach expresses this ideal thus: "One knows that didactic odes are not as convenient for music as songs for the heart; however, when the former are as beautiful as Mr. Gellert writes them, then one finds that one has a pleasant occupation in contributing all that is possible in order that the intention with which they were written be facilitated and consequently the benefits to be obtained from them be rendered more general."

Gellert (1715-1769), born as son of a pastor in Saxony, went to Leipzig in 1734 to study theology, but it was mainly literature which received his attention. In 1744 he wrote a dissertation about the history of the fable. As in 1751 Leipzig University appointed him Associate Professor of Poetry, Rhetoric and Morals, he became one of Germany's most influential poets for about twenty years. His lectures attracted large audiences, among them Johann Wolfgang von Goethe, who wrote: "The admiration and affection enjoyed by Gellert from all young people was extraordinary".
His collection Geistliche Lieder und Oden, published in 1757, enjoyed a wide circulation. Some of his songs made their entrance in hymnals in Germany, like 'Jesus lebt, mit ihm auch ich' (Osterlied). When Bach set his texts to music, Gellert was startled at first, as he thought Bach's settings were too sophisticated for the texts, which he had written for a wide audience. "They are beautiful, but too beautiful for a singer who is not musical". Bach very much liked Gellert's texts. He re-used some of them in cantatas (for example the Weihnachtslied Auf, schicke dich recht feierlich) and others were arranged for a vocal ensemble (like Bitten - Gott, deine Güte reicht so weit).

Unlike the solo songs written in the 17th and the first half of the 18th century, which were all set for voice with basso continuo, Bach and other composers - like those mentioned above - provided their songs with a part for keyboard. In his preface he states about the performance: "I have added the necessary harmony and ornaments to my melodies. In this way I have not wanted to leave them up to the arbitrariness of a stiff basso continuo player, and one can thus at the same time use them as hand pieces." With 'hand pieces' (Handstücke) Bach means that the songs can be performed as pieces for keyboard solo. He adds that this way these songs can also be played when the vocal parts are too difficult to sing. This demonstrates that these songs were composed for both Kenner (professional musicians) and Liebhaber (amateurs). As these settings are all strophic, the connection between text and music couldn't be too strong. In line with this the keyboard part is mostly about creating an atmosphere, for example in the introduction and the epilogue - it is not too far-fetched to see a parallel with Schubert's songs here.

In Dorothee Mields and Ludger Rémy these songs have found their ideal interpreters. The very delicate voice of Dorothee Mields is excellently suited to this repertoire. Her diction is immaculate - even without looking at the lyrics in the booklet one can understand every word. All nuances in the text are clearly exposed, and Ms Mields always finds the right way to bring the message across. She also takes some liberties when the text requires some special accents, and her ornamentation is always appropriate. Ludger Rémy very effectively uses the fortepiano to enhance the atmosphere of every song and to support the voice. He has previously recorded Bach's songs with the bass Klaus Mertens (CPO 999 549-2 and 999708-2). Here again he proves to be a most sensitive interpreter of this repertoire.

These songs show a side of Carl Philipp Emanuel Bach which in general isn't paid much attention to. There are no strong dramatic contrasts here, but a rather introverted expression of personal faith, as Bach expresses in his preface: "I have in particular made these songs more generally useful to lovers of music and have wanted in this way to give them occasion to edify themselves." I strongly recommend anyone to use that occasion.

Johan van Veen (© 2005)

Anyone know it?

[milk]

Finally, the new Spanyi C.P.E. concerto recording is out. This recording contains the first four of the famous series of six concertos. It's interesting to have this as a contrast to Staier's award winning recording from last year. I'd like to hear people's opinions. By my uneducated ear, I'm getting that Spanyi displays quite a different musical interpretation of these works. I can only write generally, but the tempos are much slower and the harpsichord, and perhaps the horns, are much more in the foreground here. The orchestra also sounds "heavier" - but I'm not sure that Armonico is actually bigger than Freiburger Barockorchester. It conveys quite a different feeling. I'm very pleased so far. The harpsichord, a copy of a 1745 Belgian instrument, is the sweetest sounding harpsichord that I've heard Spanyi use in this series yet. I'm interested to see what other more musically knowledgeable commentators in this forum think.   

[Lilas Pastia]

CPE Bach is, along with Boccherini, one of the most underrated giants of classical music. The whole Spanyi series is a treasure trove. I have been waiting for BIS to issue a Big Box for a few years now, not knowing how many discs would be involved, and not knowing what issues the company is facing. From what I read here it may take a while - if it ever happens 

My take on why CPE grows on one : his melodies are very bold, using wide intervals to spectacular use. Good themes, sometimes strange harmonies and dramatic gestures create a very particular mix where themes are the expressive device. In classical era music it's more their transformation and development that carries expressive significance. That's the best I can do to explain it.

[milk]

CPE Bach is, along with Boccherini, one of the most underrated giants of classical music. The whole Spanyi series is a treasure trove. I have been waiting for BIS to issue a Big Box for a few years now, not knowing how many discs would be involved, and not knowing what issues the company is facing. From what I read here it may take a while - if it ever happens 

My take on why CPE grows on one : his melodies are very bold, using wide intervals to spectacular use. Good themes, sometimes strange harmonies and dramatic gestures create a very particular mix where themes are the expressive device. In classical era music it's more their transformation and development that carries expressive significance. That's the best I can do to explain it.

Do you have the Staier recording? If you get to it, I'd like to see a comparison between Staier and the new Spanyi release. Maybe it's just that the Spanyi is new and so different, but I find myself more stimulated by what Spanyi has done here. However, I haven't gone back and listened closely enough to make a fair comparison. Staier is very brisk and angular; Spanyi is heavier and more sentimental - maybe. 

[Lilas Pastia]

Not sure which Staier recording you are referring to ? The only one I have is Archiv 419256-2 with concertos for 2 harpsichords by CPE  (W.46), and WF Bach. It's conducted by Goebel and Musica Antiqua Köln. Of the Spanyi discs I own 10 discs of either solo or concertante works.

Spanyi is indeed more overtly emotional, a quality I think suits CPE Bach's music admirably.

[Que]

I adore CPE and love that Spanyi BIS series, though I sofar have resisted to buy a lot of the issues.
Just the bargains that came along - hoping for box sets...

Anyway, did you guys realize that Pieter-Jan Belder recently did some CPE? Anyone checked it out yet?

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Q

[milk]

Not sure which Staier recording you are referring to ? The only one I have is Archiv 419256-2 with concertos for 2 harpsichords by CPE  (W.46), and WF Bach. It's conducted by Goebel and Musica Antiqua Köln. Of the Spanyi discs I own 10 discs of either solo or concertante works.

Spanyi is indeed more overtly emotional, a quality I think suits CPE Bach's music admirably.

I mean this one:

It won a gramophone award. It's a good contrast to the new Spanyi.

[milk]

it's an amazing recording i think. freiburg baroque should be one of the best ensembles these days, would you agree?

I loved it when I got it but now I'm stuck on the new Spanyi. I think my OCD causes me trouble with holding two things in my head at once. It might be a while before I can focus on the Staier again. But it interests me how different the approach is. I expect I'll come to see the merits of both visions. Freiburg is really brisk and energetic and Staier employs an interesting, sharp-toned instrument. I'm just comparing the Tempo di minuetto movement of the fourth concerto. Freiburg really is great; the soloist (Staier) and the orchestra really flow into each other. Interesting also that the new Spanyi has only the first 4 on it. I wonder with what Spanyi will pair the final 2.

[milk]

i want to say h453, h408 and h410

Wow! You really know the repertoire! Your comment made me look into what I have of Freiburger. I found Haydn and Mozart concertos (Staier). Now I've downloaded Bezuidenhout's/Freiburger's Mendelssohn (also inspired by your praise of Freiburger). But I'd better finish up on-topic: I'm looking forward to seeing if you are right! However, I notice H. 410 in my library as a double-concerto already done by Spanyi? Now, as a fan only (not musically educated), I only know my recordings, not the repertoire as you seem to, but what about the concertos recorded by Remy a few years back (H.478, H.405, H477)? For some reason, those seem to stand out (as do the 6 in question here) as less complex than some of CPE's other works? Also a possible match? But I'm not sure I know what I'm talking about.   

[milk]

the genre i love and listen to most is piano/keyboard concerto.

i don't know why i scribbed wq 47 as h 409 to my notes. i corrected it now.  i meant the one he didn't. http://www.cpebach.org/toc/toc-III-10.html   you are right 409 is on his 2nd volume.

actually, i haven't heard remy's recording. i might have 405 by spanyi. i don't think there was anything special. but i'll listen to it today again.

i might say that i only know my recordings too but i'm close to 10000 cds.

the ones i included in my casual listening list are wq23, wq26, wq31, wq43/2, wq47, which means they are my favorites

These are nice. If I'm not mistaken, wq. 47 is a double concerto for harpsichord and fortepiano. There is a wonderful recording of this by Musica Antiqua Köln, with Reinhard Goebel and Robert Hill on keyboards. Perhaps you have the same one.

[milk]

lately, i prefer this one http://www.warnerclassics.com/release,DoubleConcertosbyJSBachandhissons_5440.htm

the instruments' timbre differences creates a very charming contrast i guess. i think this might be one of the most exciting of the classical era

Thanks!

[Oclock]

The whole Spanyi series is a treasure trove. I have been waiting for BIS to issue a Big Box for a few years now, not knowing how many discs would be involved, and not knowing what issues the company is facing. From what I read here it may take a while - if it ever happens 

Congratulations!! From http://www.ensemblemimage.com/en/news :

"This enormous CD project will come to an end in 2014, when the complete series will be issued for the 300 years anniversary of the composer, Carl Philipp Emanuel Bach!"

[Lilas Pastia]

Wow ! There's already 43 discs out there and the web site mentions that the séries are 'to be continued'  . I didn't think there would be so many. I hope that BIS offers it at a special price  .

[milk]

It's that time again!

[SonicMan46]

Boy, a year ago there was some discussion about this KB series (both concertos & sonatas) - guess that I'm too lazy to look up the status of this project @ the moment - for those following more closely, has Spanyi finished yet, and any chance of these numerous discs being packaged in at a reduced price?  Thanks for any comments - Dave

David - yep, Que has also been lauding those Spanyi recordings for quite a while - just now check the BIS website (HERE), and he is up to about 30 volumes of the keyboard concertos (7) and the sonatas (23) - WOW!  I have just 3 discs of CPE Bach's keyboard works which includes one of the BIS solo recordings - kind of waiting for a BIG BOX to appear but not sure if or when?  Dave

Addendum: Well, just checking Amazon which lists more volumes for the concertos, so the BIS listing may be incomplete!

[Daverz]

I've avoided the Keyboard Concerto series like the plague.  They could offer it free. I'm not gonna fall for another integrale that's just going to gather dust (even if it's metaphorical dust on my hard drive).  A 2-disc selection would be nice, though.

[Mandryka]

I don't know these concertos at all. Are there any with the harmonic richness of the Kenner und Liebhaber sonatas?

[SonicMan46]

I've avoided the Keyboard Concerto series like the plague.  They could offer it free. I'm not gonna fall for another integrale that's just going to gather dust (even if it's metaphorical dust on my hard drive).  A 2-disc selection would be nice, though.

Hi Dave - LOL! 

I was called to dinner last night, so an abbreviated previous post; BUT, this morning looking on the BIS website, Spanyi has recorded 25 volumes of the solo KB works & 19 of the concertos!  Just checked my own CPE collection and I own 10 discs of these works (likes of Pletnev, van Asperen, Remy, Staier, & Belder, so probably enough for me!  Dave

[milk]

I have most of the concerto recordings from this set and find them to be very rewarding listening.