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BI 1967

BACH, C.P.E.: Keyboard Concertos (Complete), Vol. 20 (Spanyi) - Wq. 46, 47, 109

The Classical Shop
release date: April 2014

Originally recorded in 2014


Marta Abraham


Peter Szuts


Miklos Spanyi


Miklos Spányi


Tamás Szekendy


Cristiano Holtz


Concerto Armonico



Phoenix Studios, Diosd, Hungary


Record Label


Orchestral & Concertos


Total Time - 58:29
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BACH, C.P.E.: Keyboard Concertos (Complete), Vol. 20 (Spanyi) - Wq. 46, 47, 109

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Concerto for Harpsichord and Piano in E-Flat Major, Wq. 47, H. 479

1 I. Allegro di molto 07:40
2 II. Larghetto 05:43
3 III. Vivace 05:03
 Miklos Spányi Soloist
 Tamás Szekendy Soloist
 Marta Abraham Conductor

Double Concerto in F Major, Wq. 46, H. 408

4 I. Allegro 10:46
5 II. Largo 08:05
6 III. Allegro assai 06:08
 Miklos Spanyi Soloist
 Cristiano Holtz Soloist
 Marta Abraham Conductor

Keyboard Sonatina in D Major, Wq. 109, H. 453

7 I. Presto 00:44
8 II. Arioso 02:26
9 III. Ein wenig lebhafter 01:00
10 IV. Presto 00:43
11 V. Arioso 02:55
12 VI. Tempo di minuetto 02:37
13 VII. Allegro 01:16
14 VIII. Tempo di minuetto 03:23
 Miklos Spanyi Soloist
 Cristiano Holtz Soloist
 Peter Szuts Conductor

 Final album in the series

With this album, Miklós Spányi’s survey of the complete keyboard concertos of Carl Philipp Emanuel Bach, begun in 1995, reaches its conclusion. But over the years it has already been described as ‘a unique monument to one of the 18th century’s most underrated composers’- Gramophone magzine  as well as ‘one of the most important and monumental recording projects of the century so far’- and ‘an epoch-making achievement… in the history of recorded music’ - Together, the 64 works – composed over a period of fifty-five years (1733-88) – form an endlessly fascinating picture of their composer’s various choices made in the course of a long career. They also illustrate the development of the concerto genre, and, indeed, of music itself during the mid-eighteenth century – a period of experimentation and great variety. All of these aspects are explored in an admirable fashion in the liner notes to the various discs, written by the C.P.E. Bach scholars Jane R. Stevens and Darrell M. Berg. Throughout the series, Miklós Spányi has performed the solo parts on harpsichord, fortepiano and tangent piano, carefully explaining his choices in his own remarks to each volume, and thereby providing much insight into a crucial chapter in the development of the keyboard instruments. The two double concertos on this final volume frame most of Bach’s career, with the F major work for two harpsichords hailing from 1740 and the Concerto in E flat major being the fruit of the composer’s final year. The latter work is intriguing in that Bach in his score specified that the solo parts should be performed on a harpsichord and a fortepiano respectively, resulting in some fascinating sound effects. The disc ends with a Sonatina for two harpsichords, composed in the 1760s, and remarkable for the size of its orchestra: the work employs the largest forces ever used by Bach, and forms a suitably resplendent finale to this great recording project, and a festive opening to the 2014 tricentennial of the composer’s birth.
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