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Home Classical Bach C.P.E. Carl Philipp Emanuel Bach - Concerti a Flauto Traverso Obligato (2009)

Carl Philipp Emanuel Bach - Concerti a Flauto Traverso Obligato (2009)

Sunday, 05 December 2010 10:28 | Written by bluesever | PDF Print
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Carl Philipp Emanuel Bach - Concerti a Flauto Traverso Obligato (2009)

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Vol.1
1. Concerto In G Dur, Wq 169, H. 445: I. Allegro di molto	11:17
2. Concerto In G Dur, Wq 169, H. 445: II. Largo	7:54
3. Concerto In G Dur, Wq 169, H. 445: III. Presto	5:38
4. Concerto In B Dur, Wq 167, H. 435: I. Allegretto	8:19
5. Concerto In B Dur, Wq 167, H. 435: II. Adagio	8:08
6. Concerto In B Dur, Wq 167, H. 435: III. Allegro assai	6:11
7. Concerto In D Moll, Wq 22, H. 425: I. Allegro	7:29
8. Concerto In D Moll, Wq 22, H. 425: II. Un poco andante	8:18
9. Concerto In D Moll, Wq 22, H. 425: III. Allegro di molto	6:57

Vol.2
1. Concerto In A Moll, Wq 166: I. Allegro Assai	9:04
2. Concerto In A Moll, Wq 166: II. Andante	8:07
3. Concerto In A Moll, Wq 166: III. Allegro Assai	  6:58
4. Concerto In D Dur, Wq 13: I. Allegro	6:50
5. Concerto In D Dur, Wq 13: II. Un Poco Andante E Piano	7:54
6. Concerto In D Dur, Wq 13: III. Allegro Assai	4:47	
7. Concerto In A Dur, Wq 168: I. Allegro	  6:40	
8. Concerto In A Dur, Wq 168: II. Largo Con Sordini, Mesto	8:38
9. Concerto In A Dur, Wq 168: III. Allegro Assai		5:19

Arte dei Suonatori :
Aureliusz Golinski, Marta Mamulska, Yannis Roger, Judith Steenbrink : violons I
Ewa Golinska, Martyna Pastuszka, Joanna Huszcza, Adam Pastuszka : violons II
Dymitr Olszewski, Bodo Lonartz : alti
Tom Pitt (continuo : Wq 169 & Wq 167), Bas
van Hengel (continuo : Wq 22) : violoncelles
Stanislaw Smolka : contrebasse
Joanna Boslak-Gorniok : clavecin

Alexis Kossenko, flûte & direction

 

Carl Philipp Emanuel Bach was appointed 'principal harpsichordist' at the court of Frederick II of Prussia. The flute was constantly present in the three hundred or so works he composed in Berlin between 1741 and 1767. Almost all the concertos he composed exist in three versions: for flute, for harpsichord and for strings. Undoubtedly, these works are unique in the history of the instrument: they anticipate the Sturm und Drang movement and open wide the doors to Romanticism.

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