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BI 1787
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BI 1787

BACH, C.P.E.: Keyboard Concertos (Complete), Vol. 18 (Spanyi) - Wq. 43

The Classical Shop
release date: August 2012

Recorded in 24 Bit / 96Khz
album available as a Studio Master
Originally recorded in 2012


Abraham, Marta

Marta Abraham


Miklos Spanyi


Concerto Armonico

Record Label


Orchestral & Concertos


Total Time - 66:53
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BACH, C.P.E.: Keyboard Concertos (Complete), Vol. 18 (Spanyi) - Wq. 43

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Keyboard Concerto in F major, Wq. 43/1, H. 471

1 I. Allegro di molto 6:44
 Marta Abraham Soloist
2 II. Andante 3:32
 Marta Abraham Soloist
3 III. Prestissimo 5:04
 Marta Abraham Soloist

Keyboard Concerto in D major, Wq. 43/2, H. 472

4 I. Allegro di molto - Andante - Allegro di molto - Andante - Allegro di molto 8:53
 Marta Abraham Soloist
5 II. Andante 4:57
 Marta Abraham Soloist
6 III. Allegretto 9:15
 Marta Abraham Soloist

Keyboard Concerto in E flat major, Wq. 43/3, H. 473

7 I. Allegro 8:06
 Marta Abraham Soloist
8 II. Larghetto 2:58
 Marta Abraham Soloist
9 III. Presto 4:42
 Marta Abraham Soloist

Keyboard Concerto in C minor, Wq. 43/4, H. 474

10 I. Allegro assai 3:38
 Miklos Spanyi Soloist
11 II. Poco adagio 1:44
 Marta Abraham Soloist
12 III. Tempo di minuetto 2:47
 Marta Abraham Soloist
13 IV. Allegro assai 4:33
 Marta Abraham Soloist
 Abraham, Marta

Three years have passed since the release of the previous volume in this series, but now Miklós Spányi continues his traversal of the keyboard concertos of Carl Philipp Emanuel Bach, a series which in Gramophone has been called a ‘unique monument to one of the 18th century’s most underrated composers’. Once again Spányi has joined forces with the Hungarian period band Concerto Armonico, and together they offer us the first four works in a set of six, the Sei Concerti per il cembalo concertato. Composed during the early 1770s, the Sei Concerti were among the few concertos that C.P.E. Bach didn’t write specifically for himself to play. In order to secure a large number of subscribers for the scores, he advertised their publication repeatedly, marketing the works as ‘easy’. He also included parts for wind instruments (‘for reinforcement’, thus optional): two horns in all the fast movements, replaced by flutes in the slow movements. Bach’s aim was to make the works appealing to both players and listeners, and the result is a set of highly attractive pieces, with approachable melodies and dance rhythms but also displaying a new freedom with regard to conventional concerto form. Particularly striking is the fourth concerto, the four movements of which are run together seamlessly, while continuity is further reinforced by the reappearance of thematic material throughout the entire concerto. For these works, Miklós Spányi has chosen to perform the solo part on a harpsichord, a copy of an instrument from 1745 by the Antwerp builder Joannes Daniel Dulcken. Inspired by the English harpsichords that were imported in great number to Northern Germany during Bach’s time, Spányi has had his instrument fitted with a so-called ‘swell device’, enabling the performer to achieve dynamic shadings and crescendo-diminuendo effects consistent with the various instructions in Bach’s scores.

"These recordings are part of Spanyi’s exhaustive CPE bach keyboard series for BIS. These two contrast pleasantly with each other, and listeners may enjoy listening to the intimate sound of the clavichord and the more expansive sound of the harpsichord ad orchestra in alternation... Spanyi’s partners in these concertos, offer their most sincere nd generous engagement with Spanyi’s fine playing and Bach’s fascinating compositional process."
Benjamin Katz - American Record Guide - January/February 2013

  "Playing a handsome-sounding copy of a mid-18th century Dulcken harpsichord, Spányi is fastidiously responsive to Bach’s chameleon changes of mood."  ****

Paul Riley - BBC Music magazine (Brief Notes section) - September 2012

"... the music is uplifting and attractive ...there is a good balance between harpsichord and small period instrument orchestra. A very satisfying recording."

Brian Robins -  Early Music Review - October 2012

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