C.P.E. Bach - Kossenko - Concerti a flauto traverso obligato II [Alpha 146] {2009}

×

C.P.E. Bach - Kossenko - Concerti a flauto traverso obligato II [Alpha 146] {2009}

Close

Carl Philipp Emanuel Bach - Concerti a flauto traverso obligato Vol. II
Alexis Kossenko / Arte dei Suonatori
EAC+LOG+CUE | WV: 320 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Alpha # 146 | Country/Year: Germany 2009
Genre: Classical | Style: Classical Period

MD5 [X] CUE [X] LOG [X] INFO TEXT [X] ARTWORK [X]

selfrip [] not my rip [X]

×

C.P.E. Bach - Kossenko - Concerti a flauto traverso obligato II [Alpha 146] {2009}

Close

×

C.P.E. Bach - Kossenko - Concerti a flauto traverso obligato II [Alpha 146] {2009}

Close

With this new record, the flutist and director Alexis Kossenko, rising star of the young Baroque generation, finishes the integral of Carl Philipp Emanuel Bach's concertos started in 2006 (Alpha 093, best mark of the magazine Classica at its release). He is once again accompanied by the Polish ensemble Arte dei Suonatori, of which he has been the guest conductor for several years.
When Frederic II accessed to the throne in 1740, he was 28 years old. But he who was to lead Prussia for more than thirty years with an iron fist, turning it into one of Europe's most powerful nations, was not only an enlightened absolutist who seduced the philosophers. He was also a passionate flutist who gave the traverso, recently introduced in the Germanic world, an almost official status. He invited numerous composers to constantly provide him with new works, and played them at almost daily concerts. That's how Carl Philipp Emanuel Bach wrote the six concertos for traverso obligato, works in which, as Alexis Kossenko observes, the composer "experiments, plays with fire, opens staggering gulfs of expression under the player's fingers and breath"

review by James Manheim
As usual with France's Alpha label, the nicely reproduced painting included, analyzed in the booklet, is worth the purchase price all by itself. It's a British image of Mount Vesuvius erupting, painted in the late 1780s, and its extreme details, starting with the magenta coloring, point not to realistic depiction but to the philosophical concept of the sublime that was in the air at the time. That concept had links to the dramatic Sturm und Drang (Storm and Stress) style favored by composers including Haydn and, in a somewhat earlier form, Carl Philipp Emanuel Bach, but the links are tenuous indeed in the case of the three flute concertos recorded here, which date from the 1740s and 1750s. They're more suited to illustrate the generally obstreperous quality of C.P.E. Bach's personality, combining vigorous outer movements with substantial slow movements that spin out a particular idea in detail. The historical-instrument group Arte dei Suonatori under flutist and director Alexis Kossenko stirs things up at the start with a fast, heavily accented and attacked opening movement in the Flute Concerto in A minor, Wq 166, and Kossenko, playing a copy of a flute made or owned by Quantz, keeps control over the lengthy central movements, which really form the heart of each work. The orchestra, with a dozen members, is as agile as one could ask, and their playing captures Bach's spiky idiom. Somehow the marvelous Vesuvius painting by Joseph Wright of Derby puts you in the mood for something different from what you get here, perhaps for some of the composer's wilder keyboard pieces. Yet the looser connections also make sense, and it's not as though crisp, committed performances of these concertos are abundant. Notes are in French and English.

×

C.P.E. Bach - Kossenko - Concerti a flauto traverso obligato II [Alpha 146] {2009}

Close

allmusicguide

×

C.P.E. Bach - Kossenko - Concerti a flauto traverso obligato II [Alpha 146] {2009}

Close

// classical music \\
// all of my uploads \\