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C.P.E. Bach: Organ Concertos

Editorial Reviews

All Music Guide - James Manheim
Given the towering organ output of his father, it may seem surprising that Carl Philipp Emanuel Bach wrote little for the instrument. The reason is that the organ definitely reached a low point in the late 18th century; it didn't fit with the prevailing concept of natural, simple melody, and what's more surprising than the dearth of organ music by C.P.E. Bach is that Mozart apparently loved the instrument and wrote some sparkling works for it during his youth in Salzburg. This 1987 release from the Capriccio label was reissued in 2011 by Phoenix Edition, with little attention to the music having been paid in the intervening years. The sound wasn't great to begin with, and...
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Editorial Reviews

All Music Guide - James Manheim
Given the towering organ output of his father, it may seem surprising that Carl Philipp Emanuel Bach wrote little for the instrument. The reason is that the organ definitely reached a low point in the late 18th century; it didn't fit with the prevailing concept of natural, simple melody, and what's more surprising than the dearth of organ music by C.P.E. Bach is that Mozart apparently loved the instrument and wrote some sparkling works for it during his youth in Salzburg. This 1987 release from the Capriccio label was reissued in 2011 by Phoenix Edition, with little attention to the music having been paid in the intervening years. The sound wasn't great to begin with, and the balance between the organ and orchestra is off, with simple accompanimental material from the orchestra blazing forth with no apparent reason. It may be that this music should be taken up by one of the audiophile labels specializing in music of the period. The two organ concertos included the second features solo parts for a pair of horns to boot were composed in the late 1750s. They are rather unwieldy pieces that attempt to be both sunny and technically difficult; it's obvious that C.P.E. fully absorbed the lessons that came with growing up around the greatest organist of all time. The opening Allegro of the "Concerto in G major for organ, strings, and continuo, Wq 34/H 444," is an unusually ambitious, sprawling concerto movement for the period. The two solo organ pieces on the album feature some of the chromatic writing for which C.P.E. Bach is best known, but with the two concertos the fascination is the usual one with C.P.E.: you are watching a talented composer struggle with what has been called the anxiety of influence. An odd corner of the pre-Classical repertory, recommended for fans of the composer.
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Product Details

  • Release Date: 7/26/2011
  • Label: Phoenix Edition
  • UPC: 811691014500
  • Catalog Number: 450
  • Sales rank: 301,970

Tracks

Disc 1
  1. 1–3 Concerto for organ (or harpsichord), strings & continuo in G major, H. 444, Wq. 34 - Carl Philipp Emanuel Bach & Carl Philipp Emanuel Bach Chamber Orchestra (24:09)
  2. 2 Preludio, for organ in D major, H. 107, Wq. 70/7 - Carl Philipp Emanuel Bach & Roland Munch (4:37)
  3. 5–7 Concerto for organ (or harpsichord), 2 horns, strings & continuo in E flat major, H. 446, Wq. 35 - Carl Philipp Emanuel Bach & Carl Philipp Emanuel Bach Chamber Orchestra (18:01)
  4. 6 Fantasia & Fugue à 4, for keyboard in C minor "No. 7", H. 75.5, Wq. 119/7 - Carl Philipp Emanuel Bach & Roland Munch (5:40)
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Album Credits

Performance Credits
Roland Munch Primary Artist
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