C.P.E. Bach - Freiburger Barockorchester - Concerti (2005)

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C.P.E. Bach - Freiburger Barockorchester - Concerti (2005)

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C.P.E. Bach - Freiburger Barockorchester - Concerti
EAC+LOG+CUE | WV: 457 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Carus # 83.305 | Country/Year: Germany 2005
Genre: Classical | Style: Classical

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C.P.E. Bach - Freiburger Barockorchester - Concerti (2005)

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Disc reviews Sylvain Gasser "CLASSICSTODAY"
The Orchestra baroque Fribourg, very present in the Harmonia Mundi catalogue, is also sought by the German label Carus, who entrusted including concertos by Pisendel and a series on the sons of Bach music, began in a brilliant manner by a very interesting CD dedicated to Wilhelm Friedemann. Subsequently, a selection of concertos and a Sinfonia Carl Philipp Emanuel, is therefore the most unstoppable logic.
The program is varied, in the idea of a panorama of the writing of the composer for various instruments. There is also a "drama" to the program, which begins with a tripartite Sinfonia in e and ends on one of the most beautiful compositions of CPE Bach, the strange and fascinating Double Concerto for fortepiano and harpsichord. Recognized across the Freiburger Barokorchester sound claw, this fruity stamp with these strong accents, which, under the direction of Gottfried von der Goltz, lie within reasonable limits, while thematically similar disk # but different by the choice of works # of the Akademie fur alte Musik in Harmonia Mundi, sometimes crossing terminals. The benchmarks here are Bylsma-Leonhardt # Virgin # for Wq. 171, Ebbinge-Koopman Cello Concerto # Erato # for Wq. 164 and Koopman-Mathot in the Double Concerto Oboe Concerto.
The sound of the Orchestra is clear # the Akademie in Berlin sounds more nourished in Sinfonie Wq. 178 and 179 following the successful here, # served by a decision of his for transparency. Bylsma-Leonhardt, urban and polished tone, Kristin and Gottfried von der Goltz di Concerto for cello version is much more "Sturm und Drang" with a cello more Woody and less rich in harmonics and a harpsichord continuo # right # more present and emphasis may end up bored. Oboe Concerto, also, this version is more animated than that of Koopman, the intrusiveness of the harpsichord is identical in both cases, since we know that this is the cute sin of Koopman. The advantage is here for the Carus CD, because the principal oboe is most beautiful.
This supremacy flutes widely in the Double Concerto, the energy without bluntness, the brightness which stamps soloists flutes It is with panache, humour and verve that Gottfried von der Goltz here includes membership. With a warm cello and a more subtle continuo in the other three works, we wanted there a "10" Anthology.

review by James Leonard
The second in the Freiburger Barockorchester's series of recordings of selected orchestral works of the sons of J.S. Bach, this disc of four works by Carl Philipp Emanuel, the second oldest of his sons, provides a fascinating overview of his works. Three of the works – the Cello Concerto of 1753, the Sinfonie in E minor of 1756, and the Oboe Concerto of 1765 – come from his years working for Frederick the Great of Prussia in Berlin, and one – the Harpsichord and Hammerklavier Concerto of 1788 – comes from the last year of his life as an independent composer living in Hamburg. Taken all together, the tuneful Cello Concerto, the fiery Sinfonie, the graceful Oboe Concerto, and the altogether delightful Double Concerto form an appealing portrait of the composer, particularly in these elegant but heartfelt performances by the Freiburger Barockorchester. Under the confident leadership of concertmaster Gottfried von der Goltz, the ensemble turns in stylish and virtuosic performances. The four soloists are equally impressive – cellist Kirstin von der Goltz through her big, warm tone; oboist Ann-Kathrin Brüggemann through her sweet, piquant tone; harpsichordist Michael Behringer with his delicate dexterity; and hammerklavierist Christine Schornsheim through her rhythmic flexibility. For fans of C.P.E Bach, this disc will be fascinating. For fans of late Baroque and early Classical music who don't already know C.P.E.'s music, it will be revelatory. Carus' sound is deep and detailed, but sometimes a bit clangorous in tuttis.

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C.P.E. Bach - Freiburger Barockorchester - Concerti (2005)

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C.P.E. Bach - Freiburger Barockorchester - Concerti (2005)

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