Bach, Carl Philipp Emanuel: Vier Orchester-Sinfonien Wq 183/H 663-666, Sechs Sinfonien für Streicher Wq 182,1-6/H 657-662, Flötenkonzerte, Orgelkonzerte (Neuausgabe)
Kammerorchester C.Ph.E. Bach mit Eckart Haupt (Flöte), Roland Münch (Orgel)
Deutscher Schallplattenpreis 1988
CAPRICCIO 49367, 1985
Enthaltene Werke
Bach, Carl Philipp Emanuel: Sinfonie D-Dur Wq 183,1/H 663
Bach, Carl Philipp Emanuel: Sinfonie Es-Dur Wq 183,2/H 664
Bach, Carl Philipp Emanuel: Sinfonie F-Dur Wq 183,3/H 665
Bach, Carl Philipp Emanuel: Sinfonie G-Dur Wq 183,4/H 666
Bach, Carl Philipp Emanuel: Sinfonie G-Dur Wq 182,1/H 657
Bach, Carl Philipp Emanuel: Sinfonie B-Dur Wq 182,2/H 658
Bach, Carl Philipp Emanuel: Sinfonie C-Dur Wq 182,3/H 659
Bach, Carl Philipp Emanuel: Sinfonie A-Dur Wq 182,4/H 660
Bach, Carl Philipp Emanuel: Sinfonie h-moll Wq 182,5/H 661
Bach, Carl Philipp Emanuel: Sinfonie E-Dur Wq 182,6/H 662
Bach, Carl Philipp Emanuel: Flötenkonzert d-moll Wq 22/H 426
Bach, Carl Philipp Emanuel: Flötenkonzert a-moll Wq 166/H 431
Bach, Carl Philipp Emanuel: Flötenkonzert A-Dur Wq 169/H 438
Bach, Carl Philipp Emanuel: Flötenkonzert B-Dur Wq 167/H 435
Bach, Carl Philipp Emanuel: Flötenkonzert G-Dur Wq 169/H 445
Bach, Carl Philipp Emanuel: Orgelkonzert Es-Dur Wq 35/H 446
Bach, Carl Philipp Emanuel: Orgelkonzert G-Dur Wq 34/H 444
Pressestimmen
Of C.P.E. Bach's ten symphonies, these Orchestral symphonies (4) with Obbligato (12) Parts are his least characteristic. In C.P.E. Bach terms, this means that they are the least individualistic and eccentric and the most appealing and enjoyable of his symphonies. C.P.E. Bach wasn't the weirdest of J.S. Bach's children -- W.F.E., the drunken and dissipated Bach son, has that distinction -- but when he was in the mood, he could write some profoundly strange music, music with abrupt contrasts of tempo, texture, and tonality, music with extreme mood ranging from the delighted past the despairing to the deranged. But as Hartmut Haenchen demonstrates in this 1988 recording with the Carl Philipp Emanuel Bach Chamber Orchestra, the Orchestral symphonies (4) are truly the most appealing and enjoyable of C.P.E. Bach's symphonies. Haenchen's stylish phrasing, clear textures, bright colors, and light rhythms make a great case for the works as among the great early symphonies, works on the same level as the early Haydn or Mozart symphonies. The Carl Philipp Emanuel Bach Chamber Orchestra responds with brilliant playing on period instruments and Capriccio captures the performance in clean, crisp digital sound. As good a recording of the C.P.E. Bach Orchestral symphonies (4) as there has ever been.
James Leonard
4 1/2 Sterne von 5
www.allmusic.com, 05. August 2010
(...) qualities that are well described in Naxos's booklet notes. Such intensity is realized much better by Haenchen (with a darkly sonorous orchestra) (...)
John W. Barker
American Record Guide, 01. September 1997
(...) Haenchen's ensemble is also named after the composer: the Carl Philipp Emanuel Bach Chamber Orchestra. Playing "modern" instruments, it presents these works with energy and suave, nicely rounded warmth; (...)
John W. Barker
American Record Guide, 01. May 1997
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. February 1988