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░ ░
-░░+ C.P.E. Bach Sonatas and Rondos (Naxos 557450) +░░-
,▓░ ░▓,
▒░ Release Date:27-08-2006 ░▒
▒*░ ░░ Encoder:Lame v3.91 ░░ ░*▒
░░▓_ █▒ Company:Naxos ▒█ _▓░░
|▒ ▓▓ N▒▒ Genre:Classical ▒▒N ▓▓ ▒|
░░u▒▓ ░█▒ Year:2005 ▒█░ ▓▒u░░
▒▓▒ ▓░+▒ Ripper:Scherzo ▒+░▓ ▒▓▒
░▒░ ▓▓#▓▒ Supplier:Scherzo ▒▓#▓▓ ░▒░
░ ▓▒▒▒░ Songs:17 ░▒▒▒▓ ░
▒█▓░ Khz/Bitrate..44,1/ 192 ░▓█▒
▓██░ ░ ░ ░██▓
█▓▒ ▒, Track List: ,▒ ▒▓█
█ ▒▒ ▒▒ █
▓ ░▓ ▒▒░ 01 - sonata in d minor wq.51-4 (h.128) - i. all [03:12] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 02 - sonata in d minor wq.51-4 (h.128) - ii. la [04:06] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 03 - sonata in d minor wq.51-4 (h.128) - iii. p [03:51] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 04 - sonata in f sharp minor wq.52-4 (h.37) - i [04:44] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 05 - sonata in f sharp minor wq.52-4 (h.37) - i [03:48] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 06 - sonata in f sharp minor wq.52-4 (h.37) - i [03:12] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 07 - sonata in a major wq.55-4 (h.186) - i. all [04:35] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 08 - sonata in a major wq.55-4 (h.186) - ii. po [04:10] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 09 - sonata in a major wq.55-4 (h.186) - iii. a [04:40] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 10 - rondo in d minor wq.61-4 (h.290) - allegro [04:05] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 11 - sonata in c major wq.65-47 (h.248) - i. al [03:26] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 12 - sonata in c major wq.65-47 (h.248) - ii. a [04:28] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 13 - rondo in b flat major wq.58-5 (h.267) - al [04:51] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 14 - sonata in e major wq.65-29 (h.83) - i. all [03:23] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 15 - sonata in e major wq.65-29 (h.83) - ii. an [02:22] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 16 - sonata in e major wq.65-29 (h.83) - iii. a [01:44] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 17 - cantabile in b minor from sonata wq.55-3 ( [03:00] ░▒▒ ▓░ ▓
░ ▒ _▒░ ░▒_ ▒ ░
▒▒ ▓▓ ▓▓ ▒▒
░▒█ ▓▒u░ Total Length : [63:37 min ░u▒▓ █▒░
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▒░░▒ ▓▓█ Description: █▓▓ ▒░░▒
▒░▒ # # ▒░▒
▒░ ▒ - Christopher Hinterhuber, Piano ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Carl Philipp Emanuel Bach was born in Weimar, the ▒ ░▒
▒░ ▒ second son by his first wife of Johann Sebastian ▒ ░▒
▒░ ▒ Bach, then newly appointed Konzertmeister to the ▒ ░▒
▒░ ▒ Grand Duke Wilhelm Ernst. He attended the Latin ▒ ░▒
▒░ ▒ School in Cöthen, where his father became Court ▒ ░▒
▒░ ▒ Kapellmeister in 1717, and 1723 moved with the ▒ ░▒
▒░ ▒ family to Leipzig, where he became a pupil at the ▒ ░▒
▒░ ▒ Thomasschule, on the staff of which his father had ▒ ░▒
▒░ ▒ become Cantor. In 1731 he matriculated as a law ▒ ░▒
▒░ ▒ student at the University of Leipzig, embarking on a ▒ ░▒
▒░ ▒ course of study that had been denied his father. He ▒ ░▒
▒░ ▒ continued these studies at the University of ▒ ░▒
▒░ ▒ Frankfurt an der Oder, and in 1738, rejecting the ▒ ░▒
▒░ ▒ chance of accompanying a young gentleman on a tour ▒ ░▒
▒░ ▒ abroad, entered the service of the Crown Prince of ▒ ░▒
▒░ ▒ Prussia at Ruppin as harpsichordist. He moved with ▒ ░▒
▒░ ▒ the court to Berlin in 1740, on the accession to the ▒ ░▒
▒░ ▒ throne of the Prince, better known subsequently as ▒ ░▒
▒░ ▒ Frederick the Great. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ In Berlin and at Postdam, Bach, confirmed as Court ▒ ░▒
▒░ ▒ Harpsichordist, had the unenviable task of ▒ ░▒
▒░ ▒ accompanying evening concerts at which the King, an ▒ ░▒
▒░ ▒ able enough amateur flautist, was a frequent ▒ ░▒
▒░ ▒ performer. His colleagues, generally of a more ▒ ░▒
▒░ ▒ conservative bent, included the distinguished ▒ ░▒
▒░ ▒ falutist and theorist Quantz, the Benda and Graun ▒ ░▒
▒░ ▒ brothers and other musicians of similar reputation, ▒ ░▒
▒░ ▒ while men of letters at the court included Lessing. ▒ ░▒
▒░ ▒ In 1755 he applied for his father's former pupil ▒ ░▒
▒░ ▒ Doles being appointed to take the place of Johann ▒ ░▒
▒░ ▒ Sebastian's immediate successor, Gottlob Harrer. It ▒ ░▒
▒░ ▒ was not until 1768 that Carl Philipp Emanuel was ▒ ░▒
▒░ ▒ able to escape from a position that he had found ▒ ░▒
▒░ ▒ increasingly uncongenial, succeeding his godfather ▒ ░▒
▒░ ▒ Telemann as Cantor at the Johanneum in Hamburg, a ▒ ░▒
▒░ ▒ city that offered much wider opportunities that ▒ ░▒
▒░ ▒ Leipzig had ever done. He spent the last twenty ▒ ░▒
▒░ ▒ years of his life there. ▒ ░▒
▒░ ▒ In Berlin he had won a wider reputation with his ▒ ░▒
▒░ ▒ "Versuch über wahre Art das Clavier zu spielen" ▒ ░▒
▒░ ▒ (Essay on the True Art of Clavier Playing) and was ▒ ░▒
▒░ ▒ regarded as the leading keyboard-player of his day. ▒ ░▒
▒░ ▒ In Hamburg he continued to enjoy his established ▒ ░▒
▒░ ▒ position as a man of wide general education, able to ▒ ░▒
▒░ ▒ mix on equal terms with the leading writers of his ▒ ░▒
▒░ ▒ generation and no mere working musicians. He died in ▒ ░▒
▒░ ▒ 1788, his death mourned by a generation that thought ▒ ░▒
▒░ ▒ of him as more important that his father, the latter ▒ ░▒
▒░ ▒ disrespecfully dubbed "the old periwig" by his son. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ As a composer Carl Philipp Emanuel Bach was ▒ ░▒
▒░ ▒ prolific, writing a considerable quantity of music ▒ ░▒
▒░ ▒ for the harpsichord and for the instrument he much ▒ ░▒
▒░ ▒ favoured, the clavichord. His music exemplifies the ▒ ░▒
▒░ ▒ theories expounded in his "Versuch", with a tendency ▒ ░▒
▒░ ▒ to use dramatic and rhetorical devices, a fine ▒ ░▒
▒░ ▒ command of melody and relatively sparing use of ▒ ░▒
▒░ ▒ contrapuntal elements that had by now come to seem ▒ ░▒
▒░ ▒ merely academic. In musical terms he is associated ▒ ░▒
▒░ ▒ with Lessing's theories of sentiment, ▒ ░▒
▒░ ▒ "Empfindsamkeit", the complement of Enlightenment ▒ ░▒
▒░ ▒ rationalism. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Bach published some eighteen collections of keyboard ▒ ░▒
▒░ ▒ music in his lifetime and, while he failed to please ▒ ░▒
▒░ ▒ general popular taste in Vienna and South Germany, ▒ ░▒
▒░ ▒ he nevertheless won the admiration of the greatest ▒ ░▒
▒░ ▒ composers, of Haydn, Mozart and Beethoven. The ▒ ░▒
▒░ ▒ influence on Haydn, in particular, is attested by ▒ ░▒
▒░ ▒ that composer's early biographers and is, in any ▒ ░▒
▒░ ▒ case, apparent from his own keyboard sonatas. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The "Sonata in D minor, Wq.51/4", was written in ▒ ░▒
▒░ ▒ Berlin in 1758 and published in 1761 as what to be a ▒ ░▒
▒░ ▒ set of six, a supplement to the "Sechs Sonaten für ▒ ░▒
▒░ ▒ Clavier mit veränderten Reprisen" (Six Sonatas for ▒ ░▒
▒░ ▒ Clavier with Varied Repeats), first published in ▒ ░▒
▒░ ▒ 1760. The energetic first movement, with its rapid ▒ ░▒
▒░ ▒ passage-work, is followed by a slow movement with ▒ ░▒
▒░ ▒ distinctly rhetorical elements interrupting the ▒ ░▒
▒░ ▒ general tranquillity of the singing principal theme. ▒ ░▒
▒░ ▒ The sonata ends with a vigorous final "Presto". ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Bach's "Sonata in F sharp minor, Wq.52/4", was ▒ ░▒
▒░ ▒ written in 1744 and published in 1763 in a set of ▒ ░▒
▒░ ▒ six sonatas as a second supplement to the "Sechs ▒ ░▒
▒░ ▒ Sonaten fürs Clavier". The first movement offers a ▒ ░▒
▒░ ▒ contrast between the dash of the opening and a ▒ ░▒
▒░ ▒ secondary singing melody. The second movement, ▒ ░▒
▒░ ▒ marked "Poco andante", offers an aria, discreetly ▒ ░▒
▒░ ▒ accompanied, a reminder of Bach's own instructions ▒ ░▒
▒░ ▒ in the "Versuch" on the art of presenting a ▒ ░▒
▒░ ▒ sustained melody on the keyboard. The sonata ends ▒ ░▒
▒░ ▒ with a return to the original minor mode in a ▒ ░▒
▒░ ▒ texture that develops further the dialogue suggested ▒ ░▒
▒░ ▒ in the previous movement. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The "Sonata in A major, Wq.55/4", was written in ▒ ░▒
▒░ ▒ 1765 and published in 1779 as one of a set of six ▒ ░▒
▒░ ▒ sonatas, "Sechs Clavier-Sonaten für Kenner und ▒ ░▒
▒░ ▒ Liebhaber" (Six Clavier Sonatas for Connoisseurs and ▒ ░▒
▒░ ▒ Amateurs), the first of six similar collections, ▒ ░▒
▒░ ▒ dedicated to a Madame Zernitz. The first classical ▒ ░▒
▒░ ▒ movement leads to an F sharp minor "Adagio" in which ▒ ░▒
▒░ ▒ one writer has perceived an affinity with the slow ▒ ░▒
▒░ ▒ movement of Mozart's "Piano Concerto in A major, ▒ ░▒
▒░ ▒ K.488". The sonata ends with an "Allegro" that seems ▒ ░▒
▒░ ▒ to suggest a vein explored by Haydn. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Bach's Rondos proved particularly popular with those ▒ ░▒
▒░ ▒ who subscribed to his "Clavier-Sonaten für Kenner un ▒ ░▒
▒░ ▒ Liebhaber". The "Rondo in D minor, Wq.61/4", ▒ ░▒
▒░ ▒ appeared in 1787 in the final collection, ▒ ░▒
▒░ ▒ "Clavier-Sonaten und freye Fantasien nebst einigen ▒ ░▒
▒░ ▒ Rondos für Fortepiano" (Clavier Sonatas and Free ▒ ░▒
▒░ ▒ Fantasies with Some Rondos for Fortepiano), the last ▒ ░▒
▒░ ▒ contribution to what Chales Burney's correspondent ▒ ░▒
▒░ ▒ Thomas Twining called his ▒ ░▒
▒░ ▒ "Carlophilipemanuelbachomania", an enthusiasm that ▒ ░▒
▒░ ▒ must have been widely shared, as wirnessed by the ▒ ░▒
▒░ ▒ commercial success of these publications, although ▒ ░▒
▒░ ▒ demand for this latest collection had been rather ▒ ░▒
▒░ ▒ less, with only 288 subscribed for. Carl Friedrich ▒ ░▒
▒░ ▒ Cramer, indeed, in the "Magazin der Musik" that he ▒ ░▒
▒░ ▒ published in Hamburg between 1783 and 1786, deplores ▒ ░▒
▒░ ▒ the inclusion of rondos, which he regards as a ▒ ░▒
▒░ ▒ trivial concession to superficial contemporary ▒ ░▒
▒░ ▒ fashions. ▒ ░▒
▒░ ▒ Nevertheless Cramer, since 1775 professor of Greek ▒ ░▒
▒░ ▒ and oriental languages at the University of Kiel, ▒ ░▒
▒░ ▒ was among the subscribers, as was Baron van Swieten ▒ ░▒
▒░ ▒ in Vienna, who ordered twelve copies, and the ▒ ░▒
▒░ ▒ publisher Artaria who ordered six. Subscribers in ▒ ░▒
▒░ ▒ London included Dr. Burney, the composer and ▒ ░▒
▒░ ▒ harpsichordist Thomas Linley, Carl Friedrich Abel, ▒ ░▒
▒░ ▒ former colleague of Johann Christian Bach, and ▒ ░▒
▒░ ▒ Johann Samuel Schroeter, husband of the heiress ▒ ░▒
▒░ ▒ Rebecca Schroeter, who, as a widow, enjoyed a ▒ ░▒
▒░ ▒ relationship with Haydn during his London visits. In ▒ ░▒
▒░ ▒ Berlin Mendelssohn's great-aunt Sara Levy continued ▒ ░▒
▒░ ▒ her patronage of the Bach family, while 44 copies ▒ ░▒
▒░ ▒ were demanded in St. Petersburg. This final volume ▒ ░▒
▒░ ▒ contains two sonatas, two fantasias and two rondos. ▒ ░▒
▒░ ▒ In these last Bach's music is, as Burney had earlier ▒ ░▒
▒░ ▒ written, "every thing, by turns, that music can ▒ ░▒
▒░ ▒ express". The "Rondo in B flat major, Wq.58/5", is ▒ ░▒
▒░ ▒ taken from the 1783 fourth collection for "Kenner ▒ ░▒
▒░ ▒ und Liebhaber". ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The "Sonata in C major, Wq.65/47", was written in ▒ ░▒
▒░ ▒ 1775 but not published in Bach's lifetime. The first ▒ ░▒
▒░ ▒ of the two movements has the contrast and variety ▒ ░▒
▒░ ▒ characteristic of the composer, with an aria-like ▒ ░▒
▒░ ▒ "Adagio assai" that embodies the ideals of the ▒ ░▒
▒░ ▒ "Empfindsamerstil", with its juxtaposed changes of ▒ ░▒
▒░ ▒ mood. Bach's "Sonata in E major, Wq.65/29", also ▒ ░▒
▒░ ▒ unpublished in his lifetime, is a relatively early ▒ ░▒
▒░ ▒ work, written in 1755 and straightforward in form ▒ ░▒
▒░ ▒ and appeal. The present recording ends with the ▒ ░▒
▒░ ▒ "Cantabile" from the "Sonata in B minor, Wq. 55/3", ▒ ░▒
▒░ ▒ published in 1779 in the first Hamburg collection of ▒ ░▒
▒░ ▒ sonatas, a telling melody of apparent simplicity. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Keith Anderson ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ - Christopher Hinterhuber ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Christopher Hinterhuber was born in Austria and ▒ ░▒
▒░ ▒ studied with Axel Papenberg, Rudolf Kehrer and Heinz ▒ ░▒
▒░ ▒ Medjimorec at the University for Music and ▒ ░▒
▒░ ▒ Performing Arts in Vienna and Lazar Berman at the ▒ ░▒
▒░ ▒ Accademia Pianistica in Imola. His numerous prizes ▒ ░▒
▒░ ▒ and awards in international competitions include top ▒ ░▒
▒░ ▒ prizes at the J.S.Bach Competition in Leipzig, the ▒ ░▒
▒░ ▒ J.S.Bach Competition in Saarbrücken, the Pretoria ▒ ░▒
▒░ ▒ Unisa International Piano Competition in South ▒ ░▒
▒░ ▒ Africa, the Schumann Prize in the Geza Anda ▒ ░▒
▒░ ▒ Competition in Zurich and the Beethoven Competition ▒ ░▒
▒░ ▒ in Vienna. In 2002/2003 he performed as "Rising ▒ ░▒
▒░ ▒ Star" in the international series at Carnegie Hall, ▒ ░▒
▒░ ▒ New York, the Athens Concert Hall, Palais des Beaux ▒ ░▒
▒░ ▒ Arts in Brussels, the Concertgebouw in Amsterdam, ▒ ░▒
▒░ ▒ Wigmore Hall, London, Konserthus Stockholm, the ▒ ░▒
▒░ ▒ Festspielhaus Baden-Baden, Symphony Hall Birmingham, ▒ ░▒
▒░ ▒ The Vienna Musikverein, Mozarteum Salzburg, and the ▒ ░▒
▒░ ▒ Philharmonie in Cologne. ▒ ░▒
▒░ ▒ Christopher Hinterhuber has appeared as a soloist ▒ ░▒
▒░ ▒ with distinguished conductors, including Vladimir ▒ ░▒
▒░ ▒ Ashkenazy, Yakov Kreizberg, Bruno Weil, Howard ▒ ░▒
▒░ ▒ Griffiths and Denis Russel-Davies and has given many ▒ ░▒
▒░ ▒ recitals and chamber music performances in most ▒ ░▒
▒░ ▒ European countries. New Zealand, the Americas and ▒ ░▒
▒░ ▒ Japan. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Recorded at the Phoenix Studio, Budapest, Hungary, ▒ ░▒
▒░ ▒ from 27th February to 1st March 2004. ▒ ░▒
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#░░ ▒ ║ Greetings To: ║ ▒ ░░#
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█ █░ Amok - cnmc - AMRC - ViC - ss - tfamp3 - MTM - WoA ░█ █
░▓ █ ░ FFF - BERC - NuHS - Tronik - DH - DRUM - aZTeK ░ █ ▓░
▓▒ █*░ ░*█ ▒▓
▓i█ ▓▓▓░# Especiales Saludos a Nuestros compatriotas de: #░▓▓▓ █i▓
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▓▒#░ &, StyLe ░#▒▓
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