The Complete Keyboard Concertos Volumen 3

Abstract

In Volume 3 of the Complete Keyboard Concertos of Carl Philipp Emanuel Bach wc perform two early concertos: the Concerto in G miliar, H.409 (W. 6) from 1740 and the Concerto in A major, H.411 (W.8) from 1741, and a somewhat later one: the Concerto in D major, H.421 (W.18) from 1745. There are several reasons which have led us to the final sequence of the concertos in our recording series. First of all, I am convinced that the chronology in case of the keyboard concertos of C.P.E. Bach is a question of secondary importance, on account of the composer's habit of rewriting and correcting his own works throughout his life. If we consider the very latest versions of the concertos, we always face the newest ideas of the composer about his often much earlier compositions, showing an interesting mixture: early stylistic elements mingled with characteristics of his late musical language and technique of embellishment. On the other hand, making a series of recordings which contains all 64 works of Emanuel Bach for solo keyboard and orchestra (52 concertos and 12 sonatinas), we have come to the conclusion that it is absolutely essential to present the works on different instruments, through which our series could demonstrate at least some of the many possibilities of performance. (I have already discussed the main problems concerning the choice of solo instrument in my comments to Volumes 1 and 2.) Therefore it seemed to be reasonable to record first, consecutively, all the pieces we intended to perform with harpsichord. As I have chosen concertos from a full 12-year period to be performed on the harpsichord on the basis of historical research and personal experimentation, the sequence of pieces on the records might seem somewhat confusing at first sight: pieces are 'missing' from the chronological order. These 'gaps' will be filled in later, because these 'missing' works have survived mostly in late, often thoroughly revised versions which are already bettor suited to a later type of instrument. And, finally, planned to group the works on each CD in such a way that the programme of each record offers a convincing musical compilation, with sufficient contrast, just like a concert programme.