Diskographie

Bach, Carl Philipp Emanuel: Berliner Sinfonien

Kammerorchester C.Ph.E. Bach

Deutscher Schallplatten-Preis 1988, Gramophone Editors Choice 1988

ETERNA 7 25 041 als CD CAPRICCIO 10103 als MC/LP CAPRICCIO 27105 als DAT CAPRICCIO 99103, 1985

Enthaltene Werke

Bach, Carl Philipp Emanuel: Sinfonie für 2 Oboen, 2 Hörner, Streicher und Basso continuo F-Dur Wq 181/H 656

Bach, Carl Philipp Emanuel: Sinfonie für 2 Oboen, 2 Hörner, Streicher und Basso continuo Es-Dur Wq 179/H 654

Bach, Carl Philipp Emanuel: Sinfonie für 2 Flöten, 2 Hörner, Streicher und Basso continuo C-Dur Wq 174/H 649

Bach, Carl Philipp Emanuel: Sinfonie für 2 Flöten, 2 Hörner, Streicher und Basso continuo F-Dur Wq 175/H 650

Bach, Carl Philipp Emanuel: Sinfonie für 2 Flöten, 2 Oboen, 2 Hörner, Streicher und Basso continuo e-moll Wq 178/H 653

Pressestimmen

Interpretation: 5 Sterne

Bach, Carl Philipp Emanuel: Berlin Symphonies
In bestem Licht

Wie der Name schon andeutet, bildet ein Spezialgebiet des Kammerorchesters Carl Philipp Emanuel
Bach die Musik seines Namenspatrons. 1982 mit der Berufung Hartmut Haenchens als künstlerischer
Leiter erfolgte erst die eigentliche Repertoirefokussierung, da das Orchester zuvor einen Schwerpunkt
auf die Interpretation von zeitgenössischer Musik gelegt hatte. Haenchen richtete das Ensemble, das
sich aus Musikern verschiedener Berliner Spitzenensemble zusammensetzt, neu aus und entwickelte
es zu einem Spezialisten für das Repertoire des 18. Jahrhunderts um C. P. E. Bachs Musik.
Zahlreiche brillante Einspielungen von Bachs Werken, zum Teil zum ersten Mal aufgenommen, zeugen
von dieser erfolgreichen Arbeit; so auch die vorliegende Veröffentlichung von fünf der sogenannten
Berliner Symphonien. Brilliant Classic präsentiert eine Aufnahme aus dem Jahr 1985, die in der
Berliner Christuskirche eingespielt wurde, nun in einer Neuauflage. Trotz des Alters von mehr als 25
Jahren ist die Interpretation des Kammerorchesters unter Haenchens Leitung aber immer noch
brandaktuell
und bildet die fünf Symphonien Bachs in bestem Licht ab.
Die Einspielung bietet nämlich in 53 Minuten vom feurigen 'Prestissimo' der ersten Symphonie in Es-
Dur Wq 179, über das düstere 'Andante' der Symphonie in F-Dur Wq 175 bis hin zum tänzerischen
'Allegro' der abschließenden Symphonie in e-Moll Wq 178 verschiedenste musikalische Facetten, die
Bachs symphonische Kompositionen so abwechslungsreich und interessant machen. Diese
musikalischen Kontraste werden auch im Beihefttext beleuchtet, jedoch nur in Ansätzen, da Brilliant
Classic nur ein reduziertes Heft mitliefert. Darin ist zwar ein informativer, aber kurzer Text zu den
Werken abgedruckt, doch fehlen jegliche Informationen zu Orchester und Dirigent. Und gerade über
die Musiker wäre es wünschenswert, Näheres zu erfahren, sind es ja schließlich sie, die Bachs
Symphonien so fantastisch in Szene zu setzen verstehen.
Das Kammerorchester wird den unterschiedlichen Anforderungen vollauf gerecht und wechselt
spielerisch von langsamem, getragenem Legato in rasende Allegro-Läufe oder prasselnde Staccato-
Bewegungen. Besonders beeindruckend sind zudem die Dynamikabstufungen und -kontraste
gestaltet, die die immense Ausdrucksvielfalt der Werke meisterhaft hervorkehren.
Das wird zusätzlich
verstärkt durch die durchdachte Tempowahl und -gestaltung. So erzeugen die Musiker beispielsweise
durch eine homogene, kontinuierliche Veränderung des Tempos einen effektvollen, sanften Übergang
vom aufbrausenden, wilden ersten Satz der Symphonie in Es-Dur zum ruhigen, fast zerbrechlich
wirkenden kantablen 'Larghetto'. Eine große Balance ist dem Ensemble dabei zu eigen; die Musiker
gehen meisterhaft aufeinander ein, ergänzen und unterstützen sich, woraus ein homogener,
durchsichtiger Orchesterklang
resultiert. So wird das 'Allegro' der Symphonie in F-Dur Wq 181 vor
allem durch das brillant gespielte Frage-Antwort-Spiel zwischen Ober- und Unterstimmen wirkungsvoll
gestaltet: Legen die tiefen Stimmen mit dem dahinfegenden Triolenmotiv ein starkes Fundament, so
geben die oberen Streicher und Bläser stets die passende Antwort mit ihren feinen, virtuosen auf- und
absteigenden Läufen. Sowohl Tempo und Lautstärke als auch Präzision und Zusammenspiel sind
beeindruckend und verleihen der Einspielung Charme und Faszinationskraft.

Die Veröffentlichung bei Brilliant Classic lohnt sich also, obwohl es sich um eine ältere Aufnahme
handelt. Wer sich von Bachs Berliner Symphonien hinreißen lassen möchte, ohne tiefergehende
Hintergrundinformationen zu den ausführenden Künstlern, der Einspielung an sich oder auch den
Werken zu benötigen, dem ist die vorliegende CD nur zu empfehlen. Eine Wiedergabe auf höchstem
Niveau
ist mit Sicherheit gewährleistet.
Heike Nasritdinova
© 1994-2013 klassik.com, eMusici GmbH
www.klassik.com, 31. März 2014
.... Letzte Verneigung des Kammerorchesters aus Berlin
Auch die fünf sogenannten Berliner Symphonien, die demnächst, Mitte März, vom Label Brilliant in einer maßstäblichen Aufnahme des Ostberliner Labels Eterna neu aufgelegt werden, sind von diesem Feuer des Sturm und Drang beseelt. Eine Lesart aus den Mittachtzigern mit Hartmut Haenchen und dem „Kammerorchester Carl Philipp Emanuel Bach“, die einst Interpretationsgeschichte geschrieben hatte.

Haenchens Ensemble spielt nicht auf „historischen“ Instrumenten, aber es fing früh, vor allen anderen, damit an, die Aufführungspraxis der frühklassischen Musik zu analysieren und stilsicher zu adaptieren. Trotz der schwierigen Überlebensbedingungen und trotz des komplizierten Namens hat dieses kleine Kammerorchester eine beachtliche internationale Karriere, im Westen wie im Osten, gemacht.

Viele Preise, rund fünfzig Platteneinspielungen zeugen von einer Ära, die nun vorüber ist: Auf das Geburtstagskonzert für den Namenspatron, mit dem Oratorium „Die letzten Leiden des Erlösers“ Wq 233 folgt das Abschiedskonzert, mit den drei letzten Mozart-Symphonien. Dann löst sich das „Kammerorchester Carl Philipp Emanuel Bach“ auf, nach über vierzig Jahren, mangels Finanzierung.
Frankfurter Allgemeine Zeitung, 08. März 2014
Various orchestras are at work here of which the Carl Philipp Emanuel Bach orchestra, under their director Hartmut Haenchen are perhaps the liveliest; the repertoire to which they have been entrusted includes the Hamburg Symphonies Wq182 (six symphonies), Wq183 (four symphonies), five miscellaneous Berlin symphonies, five flute concertos and the two organ concertos.

Februar 1988, Seite 101
THE music of C. P. E. Bach is still extraordinarily neglected in the concert hall. Even the gramophone has been remarkably dilatory in exposing this brilliantly original and quirky genius. The early stereo era first centred on the characteristically engaging Double Concerto for harpsichord and fortepiano and some chamber music, and then went on to discover other concertos and the sinfonias. Now, belatedly, the East German company, Delta Music, have embarked on a complete edition on their Capriccio label. Both NA and I welcomed a set of the so-called 'Berlin' Symphonies excellently performed by the appropriately named Carl Philipp Emanuel Bach Chamber Orchestra under spirited direction by Hartmut Haenchen (Capriccio/Target CC27 105, 9/87), which I discussed in last November's "Cassette Commentary". So like Oliver Twist I asked for more and Vol. 2 bears out the promise of the first issue. It offers the familiar six 'Hamburg' sinfonias in comparably bracing performances by the same group. Their invention is full of unexpected avant-garde twists and turns of melody, rhythm and modulation, so that even if one has heard them before, the ear is consistently intrigued. The Bach group use modern instruments but the crisp, athletic style of the allegros has a distinct air of 'authenticity' in texture and sharpness of focus, yet slow movements have unashamed expressive feeling. On tape the sound is very bright on Side I and needs a little control, but Side 2 is smoother; nevertheless, overall the reproduction makes a stimulating effect (CC27 145).

Berliner Sinfonien, November 1987, Seite 143
CASSETTE COMMENTARY
ONE of the most valuable current ventures of the gramophone has just been inaugurated by the Capriccio label and if it is successful it will undoubtedly put this (until now) small, but enterprising label firmly on the map. The intention is to record all the music of C.P.E.Bach, a highly original and always rewarding composer who until relatively recently has lain (neglected by the majority of music-lovers) in his father's shadow. We have already become familiar with the sharp originality of the music of his six "Hamburg" Sinfonias, which have been recorded more than once, and of some of his concertos too, but a complete survey has been long overdue. So let me give the warmest welcome to Vol. I which includes five of the so-called "Berlin" Symphonies, Wq174-5, 1789 and 181 scored for oboes or flutes (sometimes both—notably Wq181 where the use of flutes in the Andante, after oboes in the first movement, adds a piquant touch). The performances, praise be, use modern instruments, so there are none of the more horrid excrescences of `authenticism', yet textures are light and airy, tempos of outer movements are exhilaratingly brisk, and slow movements are genuinely expressive and communicate warmly. In short, this is very rewarding music-making. The players "reach the heart of the music effortlessly and passionately" in the words of NA who was equally enthusiastic about the new series. The cassette is in the demonstration class and my only regret is that there are, unforgivably, no musical notes, although we are told that the performances, by the C.P.E. Bach Chamber Orchestra directed by Hartmut Haenchen were recorded in Berlin's famous Jesus-Christus Kirche, the venue of so many successful past ventures from Furtwangler onwards (Capriccio CC27 105, 9/87).
Gramophone (GB), 01. Oktober 1988
THE music of C. P. E. Bach is still extraordinarily neglected in the concert hall. Even the gramophone has been remarkably dilatory in exposing this brilliantly original and quirky genius. The early stereo era first centred on the characteristically engaging Double Concerto for harpsichord and fortepiano and some chamber music, and then went on to discover other concertos and the sinfonias. Now, belatedly, the East German company, Delta Music, have embarked on a complete edition on their Capriccio label. Both NA and I welcomed a set of the so-called 'Berlin' Symphonies excellently performed by the appropriately named Carl Philipp Emanuel Bach Chamber Orchestra under spirited direction by Hartmut Haenchen (Capriccio/Target CC27 105, 9/87), which I discussed in last November's "Cassette Commentary". So like Oliver Twist I asked for more and Vol. 2 bears out the promise of the first issue. It offers the familiar six 'Hamburg' sinfonias in comparably bracing performances by the same group. Their invention is full of unexpected avant-garde twists and turns of melody, rhythm and modulation, so that even if one has heard them before, the ear is consistently intrigued. The Bach group use modern instruments but the crisp, athletic style of the allegros has a distinct air of 'authenticity' in texture and sharpness of focus, yet slow movements have unashamed expressive feeling. On tape the sound is very bright on Side I and needs a little control, but Side 2 is smoother; nevertheless, overall the reproduction makes a stimulating effect (CC27 145).
Gramophone S.101, 01. Februar 1988
ONE of the most valuable current ventures of the gramophone has just been inaugurated by the Capriccio label and if it is successful it will undoubtedly put this (until now) small, but enterprising label firmly on the map. The intention is to record all the music of C.P.E.Bach, a highly original and always rewarding composer who until relatively recently has lain (neglected by the majority of music-lovers) in his father's shadow. We have already become familiar with the sharp originality of the music of his six "Hamburg" Sinfonias, which have been recorded more than once, and of some of his concertos too, but a complete survey has been long overdue. So let me give the warmest welcome to Vol. I which includes five of the so-called "Berlin" Symphonies, Wq174-5, 1789 and 181 scored for oboes or flutes (sometimes both—notably Wq181 where the use of flutes in the Andante, after oboes in the first movement, adds a piquant touch). The performances, praise be, use modern instruments, so there are none of the more horrid excrescences of `authenticism', yet textures are light and airy, tempos of outer movements are exhilaratingly brisk, and slow movements are genuinely expressive and communicate warmly. In short, this is very rewarding music-making. The players "reach the heart of the music effortlessly and passionately" in the words of NA who was equally enthusiastic about the new series. The cassette is in the demonstration class and my only regret is that there are, unforgivably, no musical notes, although we are told that the performances, by the C.P.E. Bach Chamber Orchestra directed by Hartmut Haenchen were recorded in Berlin's famous Jesus-Christus Kirche, the venue of so many successful past ventures from Furtwangler onwards (Capriccio CC27 105,
Gramophone, S. 143, 01. November 1987
These five interesting and, it would appear, hitherto commercially unrecorded symphonies of C.P.E. Bach's Berlin years have been giving me some enjoyment. Stylistically, there is little in the way of surprise and little of that quirky sensibility that characterizes much of his music of the later Hamburg period; yet, there is no mistaking the identity of the composer in the early stirring of the musical Sturm und Drang which can be felt over and over again in Bach's developing language of feeling. These symphonies span the years between 1755 and 1762 and thus fall into the long period during which Carl Philipp Emanuel served at the Court of Frederick the Great at Potsdam.
Each symphony here is in three movements but varies in its orchestration. The Symphonies in E flat, Wq179 and F major, Wql8l are scored for pairs of oboes and horns with strings, though with flutes added to the middle movement of the latter; in the C major, Wq174 and F major, Wq175 the oboes are replaced with flutes and, in the E minor Symphony, Wq178, Bach brings together flutes, oboes, horns and strings. Harpsichord continuo, played on a pleasant sounding modern Taskin copy, is used throughout. The variety in colour and texture is complemented by arresting contrasts in emotional temperament which appear at their most affecting, perhaps, in the fine Symphony in E minor of 1756. Here the lyrical slow movement with its gently fluttering flute tremolos, echoed more boldly by the strings, is flanked by supple, vigorous and quite intense Allegros. This work, more than the other four, contains those characteristically spiky utterances in the tuttis, the unexpected pauses and the surprising shifts in key that were to become such a feature of his later music. The conclusion of the finale is admirably bold and concise, recalling several similarly handled closes amongst Bach's symphonies and concertos.
The Carl Philipp Emanuel Bach Chamber Orchestra are a band of players who use modern instruments tuned at today's pitch. They are a lively group who reach the heart of the music effortlessly and passionately. ... the level of ensemble is high. In short an attractive programme of largely unfamiliar repertoire well playedand clearly recorded. I note that this issue is described as Volume One—I look forward to others. N.A.
Gramophone (GB), 01. September 1987