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NX 3027
BACH, W.F.: Keyboard Works, Vol. 4 - Keyboard Sonatas, Fk. 1b, 3 and 202 / Concerto for 2 Harpsichords, Fk. 10 (J. Brown, Baird)

BACH, W.F.: Keyboard Works, Vol. 4 - Keyboard Sonatas, Fk. 1b, 3 and 202 / Concerto for 2 Harpsichords, Fk. 10 (J. Brown, Baird)

The Classical Shop
release date: June 2013

Originally recorded in 2013

Artists:

Julia Brown

Soloist

Barbara Baird

Soloist

Venue:

Beall Concert Hall, University of Oregon, Eugene, Oregon, USA

Venue

Record Label
Naxos

Genre:

Instrumental


Classical

Total Time - 78:32
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BACH, W.F.: Keyboard Works, Vol. 4 - Keyboard Sonatas, Fk. 1b, 3 and 202 / Concerto for 2 Harpsichords, Fk. 10 (J. Brown, Baird)

     
Select Complete Single Disc for
 

WILHELM FRIEDEMANN BACH

     
 

Concerto for 2 Harpsichords in F major, Fk. 10

 
1 I. Allegro ma moderato 9:35
2 II. Andante 6:52
3 III. Presto 4:40
 Barbara Baird Soloist
     
 

Keyboard Sonata in C major, Fk. 1b

 
4 I. Allegro 7:11
5 II. Grave 0:59
6 III. Vivace 4:56
 Julia Brown Soloist
     
 

Keyboard Sonata in F major, Fk. 202

 
7 I. Allegro 8:27
8 II. Siciliana 2:57
9 III. Presto 4:13
 Julia Brown Soloist
     
 

Keyboard Sonata in D major, Fk. 3

 
10 I. Un poco allegro 9:43
11 II. Adagio 10:41
12 III. Vivace 8:18
 Julia Brown Soloist
     


Wilhelm Friedmann Bach was significant in developing the relatively new keyboard sonata form between the baroque and classical periods. Combining stylistic elements from his father’s generation and his own, the ambitious Sonata in D major was admired as “the most significant before Beethoven”. The scale of the substantial Sonata in F for two keyboard instruments, one of WF Bach’s best-known compositions, is such that it is sometimes referred to as a Concerto. Julia Brown’s recordings give WF Bach’s keyboard works “a liberty and sense of fun and engagement that make the music come alive” (Classical Net on Vol 3, Naxos 8.572814).

"... Listeners who are truely attentive to WF Bach’s art will be rewarded many times over. Brown and Baird are strong and sensitive interpreters of this intricate music."

Benjamin Katz - American Record Guide - September-October 2013


"... Brown’s playing, which as before, engages strongly with the music and presents it in a clear and committed manner."

Noel O’Regan - Early Music Review - August 2013


"The playing of both Brown and Baird is full of life and attack, humor and confidence: listen to the muscularly-arpeggiated runs in the presto[tr.3] of that F Major work (F 10), for example. It’s not exactly carefree extrovert expression because it leaves room for the listener’s response. It’s inviting and even mildly quizzical. Yet authoritative in just that way that we need it to be. On the other hand, when depth of feeling, reflection and tarrying are required, as in the gorgeous adagio of the D Major (F 3 [tr 11]), Brown is able to bring to bear an attentiveness, closeness and affection for the music which really makes one stop and think. If you’re collecting this series, don’t hesitate. This is a splendid addition. If you’re as yet unaware of the strengths of Friedemann, it’s likely that the quality of Brown’s and Baird’s playing will tempt you to explore the earlier releases. And keenly await the next. While you may initially approach the music as a polished chandelier through which to observe the ballrooms of Dresden, Halle and Berlin, your focus soon rests on the colors and texture of the glass itself."
 
Mark Sealey - Classical Net - June 2013



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