Thursday, December 17, 2009

Bach JC - Sonatas op5 & op17 - Harald Hoeren

Bach JC - Sonatas op5 & op17 - Harald Hoeren
Keyboard | Eac, flac, cue | log, cover | 2 CD, 615 MB
September 18, 2001 | CPO | RapidShare

Op 5

Johann Christian Bachs opus 5 sonatas are paradigmatic manifestations of the early classical style, heavily influenced by the Neopolitan cantilena aesthetic, written whilst serving under Queen Charlotte consort of George III these sonatas were designed to explore and showcase the capabilities of the then realitively new pianoforte, and were played in public at the Hanover Square Concert rooms to a fascinated London public on a square piano by Zumpe. Although realatively gallant and simple in style theese sonatas fully divest the strictures of the preceding baroque style and extoll the virtues of melody contrast and the dynamic juxtaposition of textures then comparitevely new. Unfortunately Mozarts later sonatas seem to loom over theese casting them into cropusular shadow, this is unfair in that Mozarts later sonatas display the fully the panoply of later classicism and were in fact influenced by theese sonatas, Mozart himself was so captured by the melodic and charming vien of these sonatas that he arranged nos 2,3 and 5 into piano concertos K107. Elegantly played this is a charming collection of classical sonatas not half so light as their reputation would claim.--Amazon

CD Content

# Sonata for piano in B flat major, Op. 5/1, CW A1 (T. 338/1)
# Sonata for piano in D major, Op. 5/2, CW A2 (T. 338/3)
# Sonata for piano in G major, Op. 5/3, CW A3 (T. 338/6)
# Sonata for piano in E flat major, Op.5/4, CW A4 (T. 339/1)
# Sonata for keyboard in E major, Op. 5/5, CW A5 (T. 339/3)
# Sonata for keyboard in C minor, Op. 5/6, CW A6 (T. 339/6)
# Symphony for keyboard in D major, CW YLA3 of 's (adapted from F.J. Haydn: Symphony No.53; spurious)

Op. 17

Johann Christian Bachs op 17 sonatas were written considerably later than the op 5 and therefore display a more mature style. The op 5 published for harpdichord or fortepiano were keen to dazilingly exploit the possibilities of the the new piano, the op 17 were written when the piano was more comfortably established (Broadwood was now producing pianos almost exclusively the last harpsichord being produced in 1783), and therefore do not strive to employ such fantastic devices such as extreme contrasts of dynamics and orchestral effects as their predecessors. These sonatas fully equal in content to Mozart and Haydn's early sonatas are true not proto-classical sonatas and approach in a more subdued manner the characteristics of the piano. These sonatas are an important manifestation of the Style Gallant/Classical school and are astutely played with relish.--Amazon

CD Content

# Sonata for keyboard in G major, Op. 17/1, CW A7 (T. 342/1)
# Sonata for keyboard in C minor, Op. 17/2, CW A8 (T. 341/3)
# Sonata for keyboard in E flat major, Op. 17/3, CW A9 (T. 341/6)
# Sonata for keyboard in G major, Op. 17/4, CW A10 (T. 341/8)
# Sonata for keyboard in A major Op. 17/5, CW A11 (T. 342/1)
# Sonata for keyboard in B flat major Op. 17/6, CW A12 (T. 342/3)

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