He had a great career working at the court of Frederick the Great for over 30 years. This piece was no doubt written for Frederick to play as he was an accomplished flute player, and CPE most often accompanied him from the keyboard.
CPE's music seems to stand more on its own, like Scarlatti's, though it doesn't get as much attention. It isn't as driven by melody as some of his contemporaries and isn't as accessible to the more casual listener. It certainly deserves much attention - I think you have to try to get into his musical world to try to understand it.
Robertt Avro I’m honestly not sure how playing harpsichord continuo to an almost endless diet of rather one dimensional Quantz flute concertos for thirty years could be described as a ‘great career’. Apart from the job security, mixing with the Enlightenment elite in the city, and the time it left him to pursue other interests - such as writing his manual on keyboard playing (the Versuch) - it’s difficult to understand how he stuck it so long. Frederick was reasonably accomplished both as a performer and composer, though only within the rather limited, conservative, world of Berlin; Dr Burney, who seems to turn up everywhere, was surprised at how well Frederick performed ‘three German concertos’ - ie Quantz concertos - at the palace. Paradoxically, whilst being a centre of the Enlightenment, musically, Berlin was a backwater. Dominated by the music of Quantz, Benda, Hasse and the Grauns, and the King’s prejudices and technical limitations, music in Berlin petrified. Old music - JS Bach for example - was largely dismissed, Haydn’s symphonies were ‘a din to flay the ears’, and CPE’s music and playing found little sympathy at court. Both in the concert hall and opera house - controlled as rigidly by Graun as Quantz did the concerts - the range of Italianate-music being played rarely strayed beyond the composers noted above - largely stereotyped, unimaginative works by composers not of the first rank. CPE’s criticisms of the playing of the King are well known (‘...but what rhythms!’), he clearly slowed down at more difficult passages. I have my doubts that Frederick would either have wanted to play, or had the technical ability to play this particular concerto. Perhaps it is worth repeating a wicked satire that was circulating at court at the time: *’Which is the most fearsome animal in the kingdom ?’* *’It is Madame Quantz’s lap dog!* *He is so terrifying that Madame Quantz quails before him; Herr Quantz is in turn afraid of Madame Quantz; and the King fears Herr Quantz!‘* Hope that background helps as there are clearly a number of people interested in this fascinating composer and his music.
I can't think that a stable position with regular pay at the music-loving Frederick II can have been that bad for CPE Bach, even though he must have known he was not the favourite. And he obviously found plenty of time to indulge in composing for himself, given his vast output. Haydn stayed for many years as resident of the Esterhazy palace and the poor man had to churn out endless compositions for baryton, so beloved by the Prince! Despite this mundane task, the latter are often quality pieces, well worth hearing. I'm not sure I'd agree with you about Berlin being a musical backwater - Graun, Hasse and Benda were doing some pretty exciting and revolutionary stuff around that time. Have you ever heard Graun's opera 'Clepoatre e Cesare'? and Hasse's 'Cleofide'? They are full of good things.
Finally we are proud to share the whole Flute Concerto of Carl Philipp Emanuel Bach with you! We hope you enjoy listening and look forward to your comments. Have a great time! Yours Bremer Barockorchester
the orchestra is gorgeous but the cembalo is not a good one for the sound and the cembalist not so inspirate and the theorbo is no where. i enjoyed so much the 1 mvt but the second is weak because of the continuo ? and the strings a bit out of tune . the traverso is fabulous . any way thank you so much. Pascal Monteilhet
There is nothing beautiful like filling your inner heart with a beauty when you playing pieces of brilliant composers, Brilliant work and special thanks to all Musician friends who participate in this wonderful work ^_^
@@xiavalencia9939 We have to understand well that at the time the piece was revolutionary, it fled the law, say, Baroque in several aspects. the context of this piece. If you don't hear the theory in classissism and in many pieces of the late Baroque, you certainly understand why. And that is the explanation of the case. The bass is very complete and as one thinks, according to the testimonies, it was at the time when the piece was written and interpreted.
Mozart: „Er (Emanuel Bach) ist der Vater; wir sind die Bubn. Wer von uns was Rechts kann, hats von ihm gelernt.“ Mozart:" He (Emanuel Bach) is the father; we are the boys. Anyone who knows what's right has learned from him. excellent ensemble
Compared to Haydn, J C Bach, Schobert, his father, the Mannheim composers, Michael Haydn and any number of other contemporary composers, the links between Mozart and CPE are extremely limited. If CPE is the father, then there is very little evident filial resemblance in the music of this particular Bube/boy. The use of this quotation, out of context, is not helpful as it implies links between the two composers that in reality, do not exist.
@@elaineblackhurst1509 Carl Philipp Emanuel Bach, considered in his generation as the most successful composer of the Bach family, spent most of his life in Berlin at the court of Frederic the Great. His fame already during his life resided mainly in that he was considered a great teacher, author of the famous book „Versuch über die wahre Art Clavier zu spielen“ („Essay on the True Way to play the Piano“).At that time Carl Philipp Emanuel Bach was one of the most famous "pianoforte" in Europe. For the harpsichord - his favorite instrument - he wrote around 150 sonatas and over 50 concertante pieces. In 1753 he published the first part of his most important textbook essay about the true way of playing the piano in self-publishing in Berlin; a second part appeared in 1762 also in self-publishing. In many parts of this work, Bach presumably presents the idea of "musical thought" for the first time. In the 41st chapter, "Of the Free Fantasia," he writes in §3: "Ignorant of any kind of tactual healing takes place in such fantasies, yet the ear, as we shall hear below, still demands a certain proportion of the variety and duration of the harmonies and the eye a relation in the validity of the notes, so that one could write down his thoughts.... Beyond that he was famed to be an outstanding improviser, surpassing all rivals. Carl Philipp Emanuel Bach was especially esteemed by great composers such as Haydn, Mozart, Beethoven and Schubert who all confessed to have learned from him. Yet he never founded any school. His way of composing is singular, intelectual, often somewhat hard edged, always stern, even when he was being witty. It‘s music for intelligent listeners and outstanding musicians because, very much like Beethoven, he never had any regards for the instrument he was writing for. C. P. E. Bach was an influential composer working at a time of transition between his father's Baroque style and the Classical style that followed it. His personal approach, an expressive and often turbulent one known as empfindsamer Stil or 'sensitive style', applied the principles of rhetoric and drama to musical structures. Carl Philipp Emanuel Bach - Simfonia in F Major, Wq 175 C.P.E. Bach / Symphony in E minor, Wq. 178 ....J.C. Bach Symphony No.6 in G minor, Op.6, Johann Christian Bach - Symphony in E-flat major for two orchestras, Op.18, No.1...J.C.F.Bach Sinfonia in D minor WFV I:3
Stefan Stamenic See my lengthy reply to your points under your own comment above. I agree with much of what you have written apart from one or two details, but do not see the relevance of the Mozart quotation which out of context remains meaningless, and little more than clickbait. Put simply - barely a note of Mozart sounds remotely like anything ever written by CPE, and vice-versa.
@@elaineblackhurst1509 You need to explain if you think there is anything about the context that renders the quotation misplaced. There really is no doubt that Mozart revered C.P.E., as did Haydn. That Mozart also learned also learned a lot from the music of J.C. does not detract from the influence of his older brother. After C.P.E. Bach died, Mozart organised and directed a performance of C.P.E.'s oratorio Auferstehung und Himmelfahrt Jesu, influences of which are apparent in Mozart's requiem.
@@martinbennett2228 I *have* explained my point in great detail elsewhere under different CPE recordings, but unfortunately am not clever enough to reproduce them here; you will come across them randomly no doubt. The influence of CPE on Mozart - the Versuch excepted - is wildly over-stated; Mozart that most travelled of composers never even visited either Berlin nor Hamburg whilst CPE lived in either city, he’s barely mentioned in the Mozart correspondence, and similarly if you check the index of any Mozart biography you choose, you will find scant entries under CPE Bach; there is an obvious reason for this state of affairs. Your point about the oratorio performance is a good example of how the CPE influence on Mozart is exaggerated; you have distorted the fact to a degree that it is unrecognisable and invalid as an argument. Mozart did *not* organise the performance, and to suggest that he did is disingenuous; he was asked to do so by Baron van Swieten who also had him do similar work with some Handel oratorios. Yes, Mozart did direct it, but if he had been unavailable, then someone else would have done it, or if the Baron had wanted a work by another composer and Mozart was available, he would have directed that instead - you absolutely cannot use this point to support imaginary links between the two composers that really do not exist. Mozart directed Die Auferstehung und Himmelfahrt because he was asked to do so, and then paid for his trouble; that’s it - it cannot be used as an argument about ‘influences’. Without the Baron’s commission, Mozart would not have been involved with CPE’s (magnificent) oratorio at all. Additionally of course, barely a note of Mozart sound like CPE and vice-versa; even a musical novice can tell the difference within four bars of listening. I found therefore that the supposed link you mentioned between Die Auferstehung and Mozart’s Requiem to be a highly original observation (though I do think there’s a Haydn link which might have occurred to yourself also). Hope that’s helpful.
Musica bellissima, interpretazione perfetta, registrazione audio e video perfetta. Che cosa dire, se non grazie dal profondo del cuore per tanta bellezza!!!
The first time I heard this orchestra was when I watched their video of Telemann's Recorder and Flute Concerto in E minor. That recording was so beautifully done, it would sometimes bring a tear to my eyes. This current recording is simply AMAZING. ON FIRE! Bravo to Señor Felipe Egaña and the Bremer Barockorchester - sending you much aloha from across the globe in Honolulu, Hawaii! - from a fellow flautist :)
Beautiful music and an excellent performance! The flutist was magnificent and the orchestra was tight. I loved this. Thank you for sharing this performance.
This piece is a unique and interesting synthesis of solo fantasia and solo concerto. It educates me, accordingly. The soloist, moreover, performs superbly -- on an instrument which is diabolically difficult to play in tune, and otherwise musically. While my personal favorite among CPE's flute concerti remains Wq 22, I have gained much from hearing this one. I hope others do likewise. I wish your career the very best, Felipe Egaña.
The thing about baroque composers like cpe Bach that is utterly sublime is we will (well people with taste hehe) or classical like mozart,, Beethoven,etc or the renessaince like tallis, William byrd, etc, is we will still be listening to their stunning music in centuries to come, i myself no I'm no professional, but I have asperges, diagnosed but only 2 years ago as I'm 34 and twasn't really known about when I was a child, but I have Mozart's signature above my right hand, above the palm, and Beethoven's on the left,, just need to properly learn how to read music as I learn my watching and listening, just finished one of chopin's nocturnes,, but back to my original point, my fav period is the baroque period and I could listen to baroque all day, and this was a stunning performance 💜💜🇬🇧🇬🇧🎶🎶🎹🎹✌️✌️
@Elaine Blackhurst Carl Philipp Emanuel Bach, considered in his generation as the most successful composer of the Bach family, spent most of his life in Berlin at the court of Frederic the Great. His fame already during his life resided mainly in that he was considered a great teacher, author of the famous book „Versuch über die wahre Art Clavier zu spielen“ („Essay on the True Way to play the Piano“).At that time Carl Philipp Emanuel Bach was one of the most famous "pianoforte" in Europe. For the harpsichord - his favorite instrument - he wrote around 150 sonatas and over 50 concertante pieces. In 1753 he published the first part of his most important textbook essay about the true way of playing the piano in self-publishing in Berlin; a second part appeared in 1762 also in self-publishing. In many parts of this work, Bach presumably presents the idea of "musical thought" for the first time. In the 41st chapter, "Of the Free Fantasia," he writes in §3: "Ignorant of any kind of tactual healing takes place in such fantasies, yet the ear, as we shall hear below, still demands a certain proportion of the variety and duration of the harmonies and the eye a relation in the validity of the notes, so that one could write down his thoughts.... Beyond that he was famed to be an outstanding improviser, surpassing all rivals. Carl Philipp Emanuel Bach was especially esteemed by great composers such as Haydn, Mozart, Beethoven and Schubert who all confessed to have learned from him. Yet he never founded any school. His way of composing is singular, intelectual, often somewhat hard edged, always stern, even when he was being witty. It‘s music for intelligent listeners and outstanding musicians because, very much like Beethoven, he never had any regards for the instrument he was writing for. C. P. E. Bach was an influential composer working at a time of transition between his father's Baroque style and the Classical style that followed it. His personal approach, an expressive and often turbulent one known as empfindsamer Stil or 'sensitive style', applied the principles of rhetoric and drama to musical structures. Carl Philipp Emanuel Bach - Simfonia in F Major, Wq 175 C.P.E. Bach / Symphony in E minor, Wq. 178 ....J.C. Bach Symphony No.6 in G minor, Op.6, Johann Christian Bach - Symphony in E-flat major for two orchestras, Op.18, No.1...J.C.F.Bach Sinfonia in D minor WFV I:3
Stefan Stamenic An interesting and thoughtful comment with which I largely concur - thank you. I would add a few points. CPE worked in Berlin from 1738 - 1767, largely playing harpsichord continuo to Frederick the Great; from 1768 - 1788 he moved to Hamburg, succeeding his godfather Telemann, where he organised the music of the city’s churches. The Versuch was widely influential as you rightly indicate and it became the standard manual on keyboard playing across Europe from its publication. We know that Haydn studied the Versuch avidly, and that Beethoven was still using it in the early nineteenth century - Czerny relates that his teacher Beethoven told him to get a copy and study it. I believe CPE’s wider influence is often overstated, particularly in relation to Mozart, where there is almost nothing of CPE to be found in Mozart’s composition style or music. CPE’s skills as a keyboard player were renowned even outside the German lands; one of the most interesting accounts is from the ubiquitous Dr Burney whose account of an evening spent with CPE is well worth reading. Burney’s comments about hearing CPE play reflect everything CPE had written in the Versuch about sensitive playing and stirring the emotions. I would perhaps debate your claim that the harpsichord was CPE’s favourite instrument and believe it was probably the more sensitive clavichord. I think CPE does write very idiosyncratic keyboard music, also that his string writing in the symphonies (eg Wq182), is very sensitive to the instruments for which he was writing, so the point where you link him with Beethoven is debatable. Your final list of works is puzzling as I can see nor hear any common thread: - JC Bach’s Opus 18 No 1 (published 1779 but probably c.1772), a superb work, is a very fashionable, entertainment symphony written specifically for London audiences; - the same composer’s Opus 6 No 6 is his one-off shot at a ‘sturm und drang’ style work - it is so different that it sounds almost like the work of a different composer; - CPE Bach’s magnificent e minor symphony Wq 178 (1756), is pure ‘empfindsamer Stil’; - Opus 18 No 1 and Wq178 are simply too different and composed too far apart to have anything in common whatsoever; - JCF Bach’s fine d minor work reflects his relative isolation in Buckeburg. Have I misunderstood your point? In summary - I think CPE’s style was in many respects simply too personal to himself, and too highly individual to be widely influential.
What an astonishing piece of music! At a time when a concerto always started with the orchestra, CPE Bach starts wit a 3 minute solo Fantasia for the flute! Is this how the concerto was originally written?
Aberrante pongan publicidad, cortando la emoción entre movimientos. Pero, ni se imaginen los anunciantes que por atisbo se me ocurre verlos completos; ipso facto los elimino. Aún así he disfrutado de Tellemann y esta gran orquesta barroca. Bravísimo, son espectaculares. Gracias.
@@TonyBittner-Collins Why not? I love Mozart's G major concerto played on a contemporary type of flute, for example. I like the clearer sound and better intonation made possible by the technical improvements made over time.
@@jakobler3474 Sure, the modern flute is technically more advanced; however, the traverso has a very clear and sweet intonation (especially because it's wooden and not a piece of metal). Equal Temperament isn't what composers had in mind at the time, but Meantone and Just Intonation with the subtleties of each key. This is discussed in the Doctrine of Affections: C Major: rejoicing, impudent C Minor: sweet, but sad D Major: stubborn, noisy, warlike and rousing D Minor: devout, serious, grand, calming E Flat Major: pathetic, plaintive E Major: the fatal separation of body and soul E Minor: pensive and grieving, but not without hope G Flat Minor: distress, abandonment G Major: persuasive and brilliant G Minor: grace, kindness, loveliness A Major: gripping and clear A Minor: honorable and calm B Flat Major: magnificent, yet modest B Minor: hard, unpleasant and desperate courses.lumenlearning.com/musicappreciation_with_theory/chapter/the-doctrine-of-affections/ www.wmich.edu/mus-theo/courses/keys.html en.m.wikipedia.org/wiki/Doctrine_of_the_affections
@Dònal Brügge Well Bach wanted to be conductor of the orchestra, but Quantz got the role cause the King preferred his conservative sound. So Bach was degraded to court cembalist. Which is the reason he later moved to Hamburg. At least that's how I understand it.
@Dònal Brügge I heard it in my local classical radio, in a program point about cpe. Bach. No further sources, sorry. If he did this allegedly difficult writing to humiliate the king, is up to interpretation of course. Friedrich seemed to have preferred his other composers anyway. At least when he played himself.
Steffen W. Perhaps I could add a few facts into this discussion which is interesting but rather ill-informed. 1. CPE Bach was employed by Frederick the Great as court continuo harpsichordist between 1738 and 1767. 2. CPE wrote little specifically for Frederick, it was not his role. 3. Quantz was both a teacher and composer of flute works, mostly specifically for the king; his important manual on 18th century flute playing is still in print. 4. Quantz’s annual salary was 2000 thalers; CPE was paid 300 pa; these salaries reflected their importance and roles in Berlin. 5. Frederick only liked Italian-style music as provided by his in-house composers such as Quantz, Graun and Benda; anything else was out, for example: French music was ‘worthless’, and Haydn’s symphonies ‘...a din to flay the ears’. The music Frederick played was limited in equal parts, by his ability, taste, and prejudice. 6. CPE’s position allowed him time to do other things such as write his keyboard manual (the Versuch), and write and sell his music through publishers as he chose. 7. Frederick did not particularly appreciate CPE’s compositions, and would have struggled to play many of them. 8.CPE moved to Hamburg in 1768 to take up the job of director of the music in the city’s churches on the death of his godfather Telemann; how he stuck 30 years of mindless chord filling for Quantz’s one-dimensional concerti is a mystery. 9. Frederick’s lavish new opera house was controlled as tightly through Graun as the concerts were by Quantz; the repertoire was similarly totally Italian/Italian style. 10. It’s probably true that CPE only worked for Frederick as: a) it provided an income and security, b) it gave him time to do his own things, c) Berlin - outside the tightly controlled musical court at Potsdam - was a stimulating cultural city, and CPE knew many of the leading artistic figures. Hope some of that usefully informs your discussion.
Great, interesting authentic performance, none use chin rests and no cloth or anything else either. One violinist does not even touch her chin to the violin ?! Does it sound better without chin rest?
They didn't have chin rests in the baroque era. Historically informed performance certainly sounds different; I prefer it, but it's just personal taste
Bravo, excelente!!! Puede saberse cuál es la pieza de solo que intepreta el solista Felipe Egaña? Dice ser una Fantasia, pero la única obra conocida para flauta sola de C.P.E. Bach es la sonata en la menor. Gracias, desde ya.
@@pearspeedruns now why did I never think of that. As a wood flute player, I can only guess the reason for the change to metal flutes with more gears is that it takes much less technique to get the same range of sounds out of such a contraption.
@@damonarvid3548 Most of the current repertoire would not be playable on the barock (wooden) flute. Moreover, its sound is much to low to be hear in a modern symphony orchestra (100+ musicians). It gets more easily out of tune. But there are modern wooden flute that are also used in modern orchestras.
Wooden flutes were still used by some orchestras in the early 20th century. Silver flutes are a 19th century French invention that took many many decades to become normal. Lots of flautists in modern orchestras are going back to wood. It suits a very large amount of repertoire.
Am I the only person (without perfect pitch) that feels like the fantasia is out of tune? :/ I mean, I know that there were different temperations before but were they THAT diffrent so a minor sounds so odd? Nontheless, great performance ;)
I noticed that too. A-415 should still be comfortable to modern ears (it's just a half step lower) but this is definitely using a different temperament as well
It's a baroque orchestra, but don't think you can call CPE Bach's music "baroque" though. His style is definitely not based on the counterpoint of his Dad and without extensive counterpoint you do not have baroque music, you actually have the next era, the early classical era.
Do you think it really? I desagree. Have you heared Amandine Beyer and Gli Incogniti; or Chritina Pulhar and L'arpeggiata, or many others?. These are not "orchests", really, but had their own sound. In other way, when I hear William Christie with Les Arts Florisant, or Mark Minkoski, or Jordi Savall, or Myrna Herzog, etc, whit their respective ensembles I can identify each one. Don´t you? Of course many groups "sounds" quite similar. They are good, but are not on the "top". Or are we talking about diferent cuestions?. As Brian Knapp say: "Or are you just trying to get a reaction from people?"
Anyone else think CPE Bach doesn't receive nearly as much recognition as he ought?
He had a great career working at the court of Frederick the Great for over 30 years. This piece was no doubt written for Frederick to play as he was an accomplished flute player, and CPE most often accompanied him from the keyboard.
Definitely...though thankfully he has been lucky on CD over the last few years, with much of his repertoire recorded for us to enjoy.
CPE's music seems to stand more on its own, like Scarlatti's, though it doesn't get as much attention. It isn't as driven by melody as some of his contemporaries and isn't as accessible to the more casual listener. It certainly deserves much attention - I think you have to try to get into his musical world to try to understand it.
Robertt Avro
I’m honestly not sure how playing harpsichord continuo to an almost endless diet of rather one dimensional Quantz flute concertos for thirty years could be described as a ‘great career’.
Apart from the job security, mixing with the Enlightenment elite in the city, and the time it left him to pursue other interests - such as writing his manual on keyboard playing (the Versuch) - it’s difficult to understand how he stuck it so long.
Frederick was reasonably accomplished both as a performer and composer, though only within the rather limited, conservative, world of Berlin; Dr Burney, who seems to turn up everywhere, was surprised at how well Frederick performed ‘three German concertos’ - ie Quantz concertos - at the palace.
Paradoxically, whilst being a centre of the Enlightenment, musically, Berlin was a backwater.
Dominated by the music of Quantz, Benda, Hasse and the Grauns, and the King’s prejudices and technical limitations, music in Berlin petrified.
Old music - JS Bach for example - was largely dismissed, Haydn’s symphonies were ‘a din to flay the ears’, and CPE’s music and playing found little sympathy at court.
Both in the concert hall and opera house - controlled as rigidly by Graun as Quantz did the concerts - the range of Italianate-music being played rarely strayed beyond the composers noted above - largely stereotyped, unimaginative works by composers not of the first rank.
CPE’s criticisms of the playing of the King are well known (‘...but what rhythms!’), he clearly slowed down at more difficult passages.
I have my doubts that Frederick would either have wanted to play, or had the technical ability to play this particular concerto.
Perhaps it is worth repeating a wicked satire that was circulating at court at the time:
*’Which is the most fearsome animal in the kingdom ?’*
*’It is Madame Quantz’s lap dog!*
*He is so terrifying that Madame Quantz quails before him; Herr Quantz is in turn afraid of Madame Quantz; and the King fears Herr Quantz!‘*
Hope that background helps as there are clearly a number of people interested in this fascinating composer and his music.
I can't think that a stable position with regular pay at the music-loving Frederick II can have been that bad for CPE Bach, even though he must have known he was not the favourite. And he obviously found plenty of time to indulge in composing for himself, given his vast output. Haydn stayed for many years as resident of the Esterhazy palace and the poor man had to churn out endless compositions for baryton, so beloved by the Prince! Despite this mundane task, the latter are often quality pieces, well worth hearing.
I'm not sure I'd agree with you about Berlin being a musical backwater - Graun, Hasse and Benda were doing some pretty exciting and revolutionary stuff around that time. Have you ever heard Graun's opera 'Clepoatre e Cesare'? and Hasse's 'Cleofide'? They are full of good things.
Finally we are proud to share the whole Flute Concerto of Carl Philipp Emanuel Bach with you! We hope you enjoy listening and look forward to your comments. Have a great time! Yours Bremer Barockorchester
the orchestra is gorgeous but the cembalo is not a good one for the sound and the cembalist not so inspirate and the theorbo is no where. i enjoyed so much the 1 mvt but the second is weak because of the continuo ? and the strings a bit out of tune . the traverso is fabulous . any way thank you so much. Pascal Monteilhet
There is nothing beautiful like filling your inner heart with a beauty when you playing pieces of brilliant composers, Brilliant work and special thanks to all Musician friends who participate in this wonderful work ^_^
@@xiavalencia9939 We have to understand well that at the time the piece was revolutionary, it fled the law, say, Baroque in several aspects. the context of this piece. If you don't hear the theory in classissism and in many pieces of the late Baroque, you certainly understand why. And that is the explanation of the case. The bass is very complete and as one thinks, according to the testimonies, it was at the time when the piece was written and interpreted.
Bravi tutti! This performance was electrifying. The orchestra sounds amazing. The soloist, Mr. Egaña is a magician with the flute.
😍😍 Thanks!!!
I appreciate the correct Italian! 😅
Mozart: „Er (Emanuel Bach) ist der Vater; wir sind die Bubn. Wer von uns was Rechts kann, hats von ihm gelernt.“
Mozart:" He (Emanuel Bach) is the father; we are the boys. Anyone who knows what's right has learned from him.
excellent ensemble
Compared to Haydn, J C Bach, Schobert, his father, the Mannheim composers, Michael Haydn and any number of other contemporary composers, the links between Mozart and CPE are extremely limited.
If CPE is the father, then there is very little evident filial resemblance in the music of this particular Bube/boy.
The use of this quotation, out of context, is not helpful as it implies links between the two composers that in reality, do not exist.
@@elaineblackhurst1509 Carl Philipp Emanuel Bach, considered in his generation as the most successful composer of the Bach family, spent most of his life in Berlin at the court of Frederic the Great. His fame already during his life resided mainly in that he was considered a great teacher, author of the famous book „Versuch über die wahre Art Clavier zu spielen“ („Essay on the True Way to play the Piano“).At that time Carl Philipp Emanuel Bach was one of the most famous "pianoforte" in Europe. For the harpsichord - his favorite instrument - he wrote around 150 sonatas and over 50 concertante pieces. In 1753 he published the first part of his most important textbook essay about the true way of playing the piano in self-publishing in Berlin; a second part appeared in 1762 also in self-publishing. In many parts of this work, Bach presumably presents the idea of "musical thought" for the first time. In the 41st chapter, "Of the Free Fantasia," he writes in §3: "Ignorant of any kind of tactual healing takes place in such fantasies, yet the ear, as we shall hear below, still demands a certain proportion of the variety and duration of the harmonies and the eye a relation in the validity of the notes, so that one could write down his thoughts....
Beyond that he was famed to be an outstanding improviser, surpassing all rivals. Carl Philipp Emanuel Bach was especially esteemed by great composers such as Haydn, Mozart, Beethoven and Schubert who all confessed to have learned from him. Yet he never founded any school. His way of composing is singular, intelectual, often somewhat hard edged, always stern, even when he was being witty. It‘s music for intelligent listeners and outstanding musicians because, very much like Beethoven, he never had any regards for the instrument he was writing for.
C. P. E. Bach was an influential composer working at a time of transition between his father's Baroque style and the Classical style that followed it. His personal approach, an expressive and often turbulent one known as empfindsamer Stil or 'sensitive style', applied the principles of rhetoric and drama to musical structures. Carl Philipp Emanuel Bach - Simfonia in F Major, Wq 175 C.P.E. Bach / Symphony in E minor, Wq. 178 ....J.C. Bach Symphony No.6 in G minor, Op.6, Johann Christian Bach - Symphony in E-flat major for two orchestras, Op.18, No.1...J.C.F.Bach Sinfonia in D minor WFV I:3
Stefan Stamenic
See my lengthy reply to your points under your own comment above.
I agree with much of what you have written apart from one or two details, but do not see the relevance of the Mozart quotation which out of context remains meaningless, and little more than clickbait.
Put simply - barely a note of Mozart sounds remotely like anything ever written by CPE, and vice-versa.
@@elaineblackhurst1509 You need to explain if you think there is anything about the context that renders the quotation misplaced. There really is no doubt that Mozart revered C.P.E., as did Haydn. That Mozart also learned also learned a lot from the music of J.C. does not detract from the influence of his older brother.
After C.P.E. Bach died, Mozart organised and directed a performance of C.P.E.'s oratorio Auferstehung und Himmelfahrt Jesu, influences of which are apparent in Mozart's requiem.
@@martinbennett2228
I *have* explained my point in great detail elsewhere under different CPE recordings, but unfortunately am not clever enough to reproduce them here; you will come across them randomly no doubt.
The influence of CPE on Mozart - the Versuch excepted - is wildly over-stated; Mozart that most travelled of composers never even visited either Berlin nor Hamburg whilst CPE lived in either city, he’s barely mentioned in the Mozart correspondence, and similarly if you check the index of any Mozart biography you choose, you will find scant entries under CPE Bach; there is an obvious reason for this state of affairs.
Your point about the oratorio performance is a good example of how the CPE influence on Mozart is exaggerated; you have distorted the fact to a degree that it is unrecognisable and invalid as an argument.
Mozart did *not* organise the performance, and to suggest that he did is disingenuous; he was asked to do so by Baron van Swieten who also had him do similar work with some Handel oratorios.
Yes, Mozart did direct it, but if he had been unavailable, then someone else would have done it, or if the Baron had wanted a work by another composer and Mozart was available, he would have directed that instead - you absolutely cannot use this point to support imaginary links between the two composers that really do not exist.
Mozart directed Die Auferstehung und Himmelfahrt because he was asked to do so, and then paid for his trouble; that’s it - it cannot be used as an argument about ‘influences’.
Without the Baron’s commission, Mozart would not have been involved with CPE’s (magnificent) oratorio at all.
Additionally of course, barely a note of Mozart sound like CPE and vice-versa; even a musical novice can tell the difference within four bars of listening.
I found therefore that the supposed link you mentioned between Die Auferstehung and Mozart’s Requiem to be a highly original observation (though I do think there’s a Haydn link which might have occurred to yourself also).
Hope that’s helpful.
felicitaciones a todos, a la excelente orquesta y al magnífico solista, el señor Egaña. bravi!
This is one of the best pieces of "Classical"...some of that true Baroque quite alive and well!
Musica bellissima, interpretazione perfetta, registrazione audio e video perfetta. Che cosa dire, se non grazie dal profondo del cuore per tanta bellezza!!!
The first time I heard this orchestra was when I watched their video of Telemann's Recorder and Flute Concerto in E minor. That recording was so beautifully done, it would sometimes bring a tear to my eyes. This current recording is simply AMAZING. ON FIRE! Bravo to Señor Felipe Egaña and the Bremer Barockorchester - sending you much aloha from across the globe in Honolulu, Hawaii! - from a fellow flautist :)
Thank you so much Hari! 🥰
Beautiful music and an excellent performance! The flutist was magnificent and the orchestra was tight. I loved this. Thank you for sharing this performance.
Toute la fougue et l'invention du digne fils de Jean Sébastien, interprétée avec le brio et la virtuosité nécessaire. Et quelle cohésion !
A nice performance!!! Well Done!!! I didnt know CPE Bach wrote a solo fantasia introducing us to the main concerto.
Beautiful sounds made by beautiful souls! Thank you all. 😇❤️👍🏻👌👏 Greetings from Ireland .🇮🇪 ☘️
This piece is a unique and interesting synthesis of solo fantasia and solo concerto. It educates me, accordingly. The soloist, moreover, performs superbly -- on an instrument which is diabolically difficult to play in tune, and otherwise musically. While my personal favorite among CPE's flute concerti remains Wq 22, I have gained much from hearing this one. I hope others do likewise. I wish your career the very best, Felipe Egaña.
Thank you so much! :-)
Listen the whole concert was some sort of wish-fulfillment thing for me. Thanks a lot to Bremer Barockorchester !
this flute is one my the instruments i really love: when there is a michrophone
From the best music I listened that wrote with bach 😀😀
The thing about baroque composers like cpe Bach that is utterly sublime is we will (well people with taste hehe) or classical like mozart,, Beethoven,etc or the renessaince like tallis, William byrd, etc, is we will still be listening to their stunning music in centuries to come, i myself no I'm no professional, but I have asperges, diagnosed but only 2 years ago as I'm 34 and twasn't really known about when I was a child, but I have Mozart's signature above my right hand, above the palm, and Beethoven's on the left,, just need to properly learn how to read music as I learn my watching and listening, just finished one of chopin's nocturnes,, but back to my original point, my fav period is the baroque period and I could listen to baroque all day, and this was a stunning performance 💜💜🇬🇧🇬🇧🎶🎶🎹🎹✌️✌️
Great chat, except that CPE Bach is a Classical composer, not a Baroque one.
Bravo!!!
Extraordinary..
Pure magic
Thank you
Elektrisierende Sturm&Drang-Musik von CPE Bach, wundervoll dargebracht. Habt ganz vielen Dank fürs Hochladen!
... empfindsamkeit
What a concerto and what a performance! CPE Bach's music is so profound and unpredictable!
This is my preferred flute concertos among those CPE Bach wrote. Bravo!! A wonderful performance.
Splendid performance ...heavenly music
Me emociona tanto oirte Pipe
te queremos mucho!!!!
Muchas gracias Claudita :-)
En serio conoce al flautista?
BACH: TAL PAI, TAL FILHO!!!......BACH: SUCH FATHER, SUCH SON !!!...
I'm not so sure ... J.S BACH is the Great One ( only one ) , but CPE is good
Bravo Felipe!!! Muchos cariños desde Chile. Que lindo verte tocando tan lindo.
Muuuchas gracias Antonia 😊
So perfect! Bravo soloist, bravo orchestra!
Thank you :-)
Great! Really well played! Both (Flute and orchestra) play in a magnificent way. I'm waiting for listening you in Italy...
Excellente prestation artistique , bravo !
Merci pour ce partage de très haute qualité .
Pierrot , cordialement .
Georgeous! Thank you very much :-)
Very punchy when goes into Allegro assai continuing in a beautiful way, layering by layering...nice. I love it(Subscribe)
.. simply stunning .. and simply brilliant ! .
Hervorragend
@Elaine Blackhurst Carl Philipp Emanuel Bach, considered in his generation as the most successful composer of the Bach family, spent most of his life in Berlin at the court of Frederic the Great. His fame already during his life resided mainly in that he was considered a great teacher, author of the famous book „Versuch über die wahre Art Clavier zu spielen“ („Essay on the True Way to play the Piano“).At that time Carl Philipp Emanuel Bach was one of the most famous "pianoforte" in Europe. For the harpsichord - his favorite instrument - he wrote around 150 sonatas and over 50 concertante pieces. In 1753 he published the first part of his most important textbook essay about the true way of playing the piano in self-publishing in Berlin; a second part appeared in 1762 also in self-publishing. In many parts of this work, Bach presumably presents the idea of "musical thought" for the first time. In the 41st chapter, "Of the Free Fantasia," he writes in §3: "Ignorant of any kind of tactual healing takes place in such fantasies, yet the ear, as we shall hear below, still demands a certain proportion of the variety and duration of the harmonies and the eye a relation in the validity of the notes, so that one could write down his thoughts....
Beyond that he was famed to be an outstanding improviser, surpassing all rivals. Carl Philipp Emanuel Bach was especially esteemed by great composers such as Haydn, Mozart, Beethoven and Schubert who all confessed to have learned from him. Yet he never founded any school. His way of composing is singular, intelectual, often somewhat hard edged, always stern, even when he was being witty. It‘s music for intelligent listeners and outstanding musicians because, very much like Beethoven, he never had any regards for the instrument he was writing for.
C. P. E. Bach was an influential composer working at a time of transition between his father's Baroque style and the Classical style that followed it. His personal approach, an expressive and often turbulent one known as empfindsamer Stil or 'sensitive style', applied the principles of rhetoric and drama to musical structures. Carl Philipp Emanuel Bach - Simfonia in F Major, Wq 175 C.P.E. Bach / Symphony in E minor, Wq. 178 ....J.C. Bach Symphony No.6 in G minor, Op.6, Johann Christian Bach - Symphony in E-flat major for two orchestras, Op.18, No.1...J.C.F.Bach Sinfonia in D minor WFV I:3
Stefan Stamenic
An interesting and thoughtful comment with which I largely concur - thank you. I would add a few points.
CPE worked in Berlin from 1738 - 1767, largely playing harpsichord continuo to Frederick the Great; from 1768 - 1788 he moved to Hamburg, succeeding his godfather Telemann, where he organised the music of the city’s churches.
The Versuch was widely influential as you rightly indicate and it became the standard manual on keyboard playing across Europe from its publication.
We know that Haydn studied the Versuch avidly, and that Beethoven was still using it in the early nineteenth century - Czerny relates that his teacher Beethoven told him to get a copy and study it.
I believe CPE’s wider influence is often overstated, particularly in relation to Mozart, where there is almost nothing of CPE to be found in Mozart’s composition style or music.
CPE’s skills as a keyboard player were renowned even outside the German lands; one of the most interesting accounts is from the ubiquitous Dr Burney whose account of an evening spent with CPE is well worth reading. Burney’s comments about hearing CPE play reflect everything CPE had written in the Versuch about sensitive playing and stirring the emotions.
I would perhaps debate your claim that the harpsichord was CPE’s favourite instrument and believe it was probably the more sensitive clavichord.
I think CPE does write very idiosyncratic keyboard music, also that his string writing in the symphonies (eg Wq182), is very sensitive to the instruments for which he was writing, so the point where you link him with Beethoven is debatable.
Your final list of works is puzzling as I can see nor hear any common thread:
- JC Bach’s Opus 18 No 1 (published 1779 but probably c.1772), a superb work, is a very fashionable, entertainment symphony written specifically for London audiences;
- the same composer’s Opus 6 No 6 is his one-off shot at a ‘sturm und drang’ style work - it is so different that it sounds almost like the work of a different composer;
- CPE Bach’s magnificent e minor symphony Wq 178 (1756), is pure ‘empfindsamer Stil’;
- Opus 18 No 1 and Wq178 are simply too different and composed too far apart to have anything in common whatsoever;
- JCF Bach’s fine d minor work reflects his relative isolation in Buckeburg.
Have I misunderstood your point?
In summary - I think CPE’s style was in many respects simply too personal to himself, and too highly individual to be widely influential.
Bravo! That's my Chilean friend Felipe.
Masterfully performed. 🎼🎶💕
😍😍
thanks for publishing this on the day of my birthday! this is the best gift I could receive hehe :)
pure energy and magnificent... thanks
La música es magia.
Stunning. Bravo!
Güzel Müzikler. Teşekkürler. ( Beautiful Mussic. Thanks.)
Wow!
exceptionally beautiful!!!
I'll bet der alte Fritz never played it so well. Thanks for a lovely upload.
Nuostabus fleitos garsas. BRAVO.
Love the "Great Bach"
Thank You so much!
Amazing . Im stun
Wunderbar! Bravo!
Bravo Felipe! Bravi tutti!!!
This is my best recording of Pihillippe Emanuel on the YT
Bravo Felipe!
What an astonishing piece of music! At a time when a concerto always started with the orchestra, CPE Bach starts wit a 3 minute solo Fantasia for the flute! Is this how the concerto was originally written?
No.
ESPECTACULAR PRECIOSO 💎👍
beautiful, perfect in the evenings
Beautiful!!!❤️❤️❤️👏👏👏👏🎶🎶🎶🎶🎶🎶🥰🥰🥰🥰🥰
Bravo!!
Much enjoyed ~ thank you !
¡¡Bravo Felipe!! Qué orgullo, abrazo desde Chile!
Muchas gracias Oriana 😊
Awesome! Bravo! Bravissimo!
Wow!!!!!
That is some tough fluting? So fast and must be hard on an old instrument like that!
très magnifique!!!
Belo! Esplêndido!!!!
Que encantador ❤
Aberrante pongan publicidad, cortando la emoción entre movimientos. Pero, ni se imaginen los anunciantes que por atisbo se me ocurre verlos completos; ipso facto los elimino. Aún así he disfrutado de Tellemann y esta gran orquesta barroca. Bravísimo, son espectaculares. Gracias.
wonderful!
QUE BELLO. BELLO
¡ Excelente interpretación !
So wunderschön und musikalisch das Konzert auch gespielt wurde, man lernt den Klang einer "modernen" Flöte doch erst richtig zu schätzen.
The 'modern' flute only works for contemporary music not for pre-19th century repertoire.
@@TonyBittner-Collins Why not? I love Mozart's G major concerto played on a contemporary type of flute, for example. I like the clearer sound and better intonation made possible by the technical improvements made over time.
@@jakobler3474 Sure, the modern flute is technically more advanced; however, the traverso has a very clear and sweet intonation (especially because it's wooden and not a piece of metal). Equal Temperament isn't what composers had in mind at the time, but Meantone and Just Intonation with the subtleties of each key. This is discussed in the Doctrine of Affections:
C Major: rejoicing, impudent
C Minor: sweet, but sad
D Major: stubborn, noisy, warlike and rousing
D Minor: devout, serious, grand, calming
E Flat Major: pathetic, plaintive
E Major: the fatal separation of body and soul
E Minor: pensive and grieving, but not without hope
G Flat Minor: distress, abandonment
G Major: persuasive and brilliant
G Minor: grace, kindness, loveliness
A Major: gripping and clear
A Minor: honorable and calm
B Flat Major: magnificent, yet modest
B Minor: hard, unpleasant and desperate
courses.lumenlearning.com/musicappreciation_with_theory/chapter/the-doctrine-of-affections/
www.wmich.edu/mus-theo/courses/keys.html
en.m.wikipedia.org/wiki/Doctrine_of_the_affections
Exelentes ! felicitaciones por la energìa.
It is said that Bach was so passive aggressive against Friedrich, that he wrote Flute works that were too difficult for the king.
@Dònal Brügge Well Bach wanted to be conductor of the orchestra, but Quantz got the role cause the King preferred his conservative sound. So Bach was degraded to court cembalist. Which is the reason he later moved to Hamburg. At least that's how I understand it.
@Dònal Brügge I heard it in my local classical radio, in a program point about cpe. Bach. No further sources, sorry. If he did this allegedly difficult writing to humiliate the king, is up to interpretation of course. Friedrich seemed to have preferred his other composers anyway. At least when he played himself.
@Dònal Brügge Did you research on this topic once? You sound well informed.
Steffen W.
Perhaps I could add a few facts into this discussion which is interesting but rather ill-informed.
1. CPE Bach was employed by Frederick the Great as court continuo harpsichordist between 1738 and 1767.
2. CPE wrote little specifically for Frederick, it was not his role.
3. Quantz was both a teacher and composer of flute works, mostly specifically for the king; his important manual on 18th century flute playing is still in print.
4. Quantz’s annual salary was 2000 thalers; CPE was paid 300 pa; these salaries reflected their importance and roles in Berlin.
5. Frederick only liked Italian-style music as provided by his in-house composers such as Quantz, Graun and Benda; anything else was out, for example: French music was ‘worthless’, and Haydn’s symphonies ‘...a din to flay the ears’.
The music Frederick played was limited in equal parts, by his ability, taste, and prejudice.
6. CPE’s position allowed him time to do other things such as write his keyboard manual (the Versuch), and write and sell his music through publishers as he chose.
7. Frederick did not particularly appreciate CPE’s compositions, and would have struggled to play many of them.
8.CPE moved to Hamburg in 1768 to take up the job of director of the music in the city’s churches on the death of his godfather Telemann; how he stuck 30 years of mindless chord filling for Quantz’s one-dimensional concerti is a mystery.
9. Frederick’s lavish new opera house was controlled as tightly through Graun as the concerts were by Quantz; the repertoire was similarly totally Italian/Italian style.
10. It’s probably true that CPE only worked for Frederick as:
a) it provided an income and security,
b) it gave him time to do his own things,
c) Berlin - outside the tightly controlled musical court at Potsdam - was a stimulating cultural city, and CPE knew many of the leading artistic figures.
Hope some of that usefully informs your discussion.
Dònal Brügge You might find my reply to Steffen W about your current debate with him of some interest.
Bravo, Felipe!!
Thanks Johanna :-)
Is this beautiful because it is historic or historic because it is beautiful? (...)
OMG original genius that rivals any contemporary music. Altogether his father's son.
tremendo concierto!!
Muy bonito el cocierto
Super
Thank you! What is the Fantasia performed at the beginning?
🌈💫
Amo este compositor y este concierto Brillante
Great, interesting authentic performance, none use chin rests and no cloth or anything else either. One violinist does not even touch her chin to the violin ?! Does it sound better without chin rest?
I also wonder how the violinist without the chin rest can keep her violin in place and still get a decent tone.
They didn't have chin rests in the baroque era. Historically informed performance certainly sounds different; I prefer it, but it's just personal taste
Not having a chin rest changes the mechanics of the way your left hand moves which in turn affects the playing style.
Bravo, excelente!!! Puede saberse cuál es la pieza de solo que intepreta el solista Felipe Egaña? Dice ser una Fantasia, pero la única obra conocida para flauta sola de C.P.E. Bach es la sonata en la menor. Gracias, desde ya.
Ohne Dirigent? Super!
But that's.. that's.. a transcription from a cello concerto, isn't it?
第1楽章の前にファンタジアというのがあるんだ
珍しいね
The healing elixir for the disheartened dismal declining Western modern-music.
💐💐💐💐💐
Had no idea wooden flutes had a place in classical music.
Back in the baroque era they made all woodwinds out of wood (hence the name).
@@pearspeedruns now why did I never think of that. As a wood flute player, I can only guess the reason for the change to metal flutes with more gears is that it takes much less technique to get the same range of sounds out of such a contraption.
@@damonarvid3548 Most of the current repertoire would not be playable on the barock (wooden) flute. Moreover, its sound is much to low to be hear in a modern symphony orchestra (100+ musicians). It gets more easily out of tune. But there are modern wooden flute that are also used in modern orchestras.
Wooden flutes were still used by some orchestras in the early 20th century. Silver flutes are a 19th century French invention that took many many decades to become normal. Lots of flautists in modern orchestras are going back to wood. It suits a very large amount of repertoire.
pach
What a rock-out fest indeed!
חליל של מוצרט לא דומה לחליל של באך זה ממש עולם אחר אבל הביצוע היה נהדר !!!!!!!
Ich hör da immer ein Stück weit Vivaldi. Komisch, oder?
what's the tuning of the flute? Is it werkmeister? It does not sound perfectely in tune (=well tempered)
It's perfectly tuned in Meantone.
⚘⚘⚘⚘⚘
Let, lystig ganske fornøjeligt......
Am I the only person (without perfect pitch) that feels like the fantasia is out of tune? :/ I mean, I know that there were different temperations before but were they THAT diffrent so a minor sounds so odd? Nontheless, great performance ;)
This baroque orchestra using period instruments is almost certainly also using baroque pitch which is generally A=415 hz.
And “those instruments w
Were not well tempered at all. F is to high Eb is different thanD#, etc
I noticed that too. A-415 should still be comfortable to modern ears (it's just a half step lower) but this is definitely using a different temperament as well
Those old flutes are not built to be equal temperament. So yes on their own the tuning does sound different to what most people are used to.
Cc
this is the cello concerto people in a minor
It began as a flute concerto.
@@morphixnm you would know better
Flutist doesn't seem excellent to me!
Turn off your troll-o-phones and he'll sound better.
Today's baroque orchestras all sounds the same.
The same perfektion,
the same way to play, the same pitch, indistinguishable.
Would you rather hear dullness and imperfection? Or are you just trying to get a reaction from people?
It's a baroque orchestra, but don't think you can call CPE Bach's music "baroque" though. His style is definitely not based on the counterpoint of his Dad and without extensive counterpoint you do not have baroque music, you actually have the next era, the early classical era.
Do you think it really? I desagree. Have you heared Amandine Beyer and Gli Incogniti; or Chritina Pulhar and L'arpeggiata, or many others?.
These are not "orchests", really, but had their own sound. In other way, when I hear William Christie with Les Arts Florisant, or Mark Minkoski, or Jordi Savall, or Myrna Herzog, etc, whit their respective ensembles I can identify each one. Don´t you?
Of course many groups "sounds" quite similar. They are good, but are not on the "top".
Or are we talking about diferent cuestions?.
As Brian Knapp say: "Or are you just trying to get a reaction from people?"
@@RoberttAvro true
3:14 Off-topic: hairy looking clothe? Really?
the sound that they produce is what matters
Absolutely NO
Absolutely no idea what you are absolutely no about.
Sorry, do you play early music or period instruments? What specifically didn't you like about this rendition?