1 800 222 6872

C.P.E. Bach: Magnificat; Motet "Heilig ist Gott"; Symphony Wq 183/1 / Elizabeth Watts, Wiebke Lehmkuhl, Lothar Odinius, Markus Eiche

Audio Samples

>Bach, Carl Philipp Emanuel : Magnificat for 4 voices, chorus, 2 flutes, 2 oboes, 3 trumpets, 2 horns, strings & continuo in D min
>Bach, Carl Philipp Emanuel : Helig (Te Deum Laudamus), for voice, double chorus, 2 oboes, bassoon, 3 trumpets, strings & continuo
>Bach, Carl Philipp Emanuel : Symphony for orchestra in D major (Orchester-sinfonien no 1), H. 663, Wq. 183/1

Album Summary

>Bach, Carl Philipp Emanuel : Magnificat for 4 voices, chorus, 2 flutes, 2 oboes, 3 trumpets, 2 horns, strings & continuo in D min
>Bach, Carl Philipp Emanuel : Helig (Te Deum Laudamus), for voice, double chorus, 2 oboes, bassoon, 3 trumpets, strings & continuo
>Bach, Carl Philipp Emanuel : Symphony for orchestra in D major (Orchester-sinfonien no 1), H. 663, Wq. 183/1
Conductor Ensembles Composer

Notes & Reviews:

On April 9, 1786, Carl Philipp Emanuel Bach conducted a charity concert in Hamburg featuring three of his finest and most representative works: the Symphony Wq 183/1, the Magnificat (written in 1749 in the hope of succeeding his father as Cantor in Leipzig) and his stupendous Heilig for double choir, of which he wrote, "It will be my swan song of this kind, and will serve to ensure that I shall not soon be forgotten after my death." Released to celebrate the 300th anniversary of the composer's birth, this recording recreating the program of this historic concert confirms the prophetic nature of the composer's words. Hans-Christoph Rademann leads the RIAS Kammerchor, Akademie für Alte Musik Berlin and a stellar cast of soloists (including soprano Elizabeth Watts) in definitive recordings of these fascinating and innovative works.

The Observer, 2nd February 2014
Hans-Christoph Rademann finds eloquence in the choral music and lets the Berlin Akademie rip with edgy tone in the symphony.

Sunday Times, 16th February 2014
Chorus and orchestra launch the work in exhilarating style, as Bach emulates his father's trumpety celebratory style, but with Vivaldian panache...This is a glorious disc.

The Independent, 22nd February 2014
The three works featured here represent what C P E Bach considered his finest achievements...The arias and chorales in his Magnificat echoes his father J S Bach's Mass in B minor, as if emphasising his lineage... rendered with grace by the Akademie Fnr Alte Musik Berlin.

Chris O'Reilly, Presto Classical, 10th February 2014
There are some really sumptuous sonorities in this music and the temptation in performance must sometimes be to overplay them. That is never the case here though, as the careful balance between expression and restraint seems very well judged throughout.

BBC Music Magazine, April 2014
A fine reconstruction of the second half of a concert [CPE Bach] conducted in Hamburg on Palm Sunday, 1786. So vivacious is the choral singing and orchestral playing under Hans-Chrisoph Rademann that it's a shame they did not include every work from that occasion.

Early Music Today, May 2014
The energetic and committed performances of the Akademie fur Alte Musik Berlin and the RIAS Kammerchor under Hans-Christoph Rademann make this music a joy to listen to ... an excellent introduction to C.P.E Bach's work.

MusicWeb International, 11th April 2014
Hans-Christoph Rademann gets some splendid playing from the Akademie fnr Alte Musik Berlin and directs the performance with flair and evident empathy for the music.

International Record Review, April 2014
'Vitality' is the essential ingredient of the performances recorded here ... Elizabeth Watts shapes her phrases beautifully with a sure sense of direction ... thrilling stuff.

Gramophone Magazine, April 2014
Rademann and his Berlin forces make the strongest possible case for it, with fresh, athletic choral singing, playing of crackling, fizzing energy and excellent solo work...This is the finest recording of CPE's choral masterpiece I have heard....set to be one of the discs of the CPE anniversary year.

American Record Guide, May/June 2014
The Magnificat in D (W 215), the principal work here, dates from 1749, when the composer was still serving the Prussian court in Berlin. The double-choir motet Heilig ist Gott (W 217) was written in 1776. The two choirs illustrate the contrast between heavenly voices - quiet, sustained, and mysteriously distant - and the more exuberant earthly voices. The brief Symphony in D (W 183:1) comes from the composer's last set of symphonies published in 1780. Hans-Christoph Rademann directs performances that are bold and energetic.

Notes & Reviews:

Recording information: Jesus-Christus-Kirche, Berlin-Dahlem (01/2013); Teldex Studio Berlin (01/2013); Jesus-Christus-Kirche, Berlin-Dahlem (11/2011); Teldex Studio Berlin (11/2011).



Reviews

There are currently no reviews, be the first one!
Login or Create an Account to write a review
 

Also Purchased



Previous


Next


Works Details

>Bach, Carl Philipp Emanuel : Magnificat for 4 voices, chorus, 2 flutes, 2 oboes, 3 trumpets, 2 horns, strings & continuo in D min
  • Conductor: Hans-Christoph Rademann
  • Ensemble: RIAS Kammerchor
  • Running Time: 35 min. 12 sec.
  • Period Time: Classical
  • Form: Choral
  • Written: 1749

>Bach, Carl Philipp Emanuel : Helig (Te Deum Laudamus), for voice, double chorus, 2 oboes, bassoon, 3 trumpets, strings & continuo
  • Conductor: Hans-Christoph Rademann
  • Running Time: 7 min. 52 sec.
  • Period Time: Classical
  • Written: 1776

>Bach, Carl Philipp Emanuel : Symphony for orchestra in D major (Orchester-sinfonien no 1), H. 663, Wq. 183/1
  • Conductor: Hans-Christoph Rademann
  • Running Time: 9 min. 32 sec.
  • Period Time: Classical
  • Form: Orchestral
  • Written: 1775-1776