Bach, Carl Philipp Emanuel
[Author]
;
Rademann, Hans-Christoph
[Performer];
Watts, Elizabeth
[Performer];
Lehmkuhl, Wiebke
[Performer];
Odinius, Lothar
[Performer];
Eiche, Markus
[Performer]RIAS Kammerchor,
Akademie für Alte Musik Berlin
Recording information:
Interpr.: Elizabeth Watts, soprano. Wiebke Lehmkuhl, alto. Lothar Odinius, tenor. Markus Eiche, bass. RIAS Kammerchor. Akademie für Alte Musik Berlin. Hans-Christoph Rademann [Dir.]. - Aufn.: Berlin-Dahlem, Jesus-Christus-Kirche, Januar 2013 (Wq 215 u. 217); Berlin, Teldex Studio, November 2011 (Wq 183/1)
Footnote:
Die Vorlage enth. insgesamt 3 Werke
Beih. franz., engl. u. dt
Description:
Carl Philipp Emanuel, born 300 years ago, was the second son of JS Bach and a fascinating composer who moved from the baroque towards later 18th-century styles. The transformation is well captured here: the choral and solo Magnificat of 1749 is impressive but slightly four-square, whereas the D major symphony of 1780 is wackily surprising and original, its offbeat single lines leaving the listener totally disorientated at the start. The double-choir Heilig is a noble, uplifting hymn of the Enlightenment. Hans-Christoph Rademann finds eloquence in the choral music and lets the Berlin Akademie rip with edgy tone in the symphony (Guardian)