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Carl Philipp Emanuel Bach - Symphony in G major, Wq 182,1 

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In this recording of a concert at the Prinzregententheater in Munich in 1998, the Bach Collegium München performs under the direction of Christopher Hogwood, one of the most reputed representatives of historically correct performance, practice several works of Carl Philipp Emanuel Bach.
Carl Philipp Emanuel Bach - Oboe Concerto in B flat major, Wq 164
0:20 I. Allegro di molto
3:50 II. Poco adagio
7:25 III. Presto
Click here to watch the complete programme: • Christopher Hogwood on...
Carl Philipp Emanuel Bach, considered in his generation as the most successful composer of the Bach family, spent most of his life in Berlin at the court of Frederic the Great. His fame already during his life resided mainly in that he was considered a great teacher, author of the famous book „Versuch über die wahre Art Clavier zu spielen“ („Essay on the True Way to play the Piano“). Beyond that he was famed to be an outstanding improviser, surpassing all rivals. Carl Philipp Emanuel Bach was especially esteemed by great composers such as Haydn, Mozart, Beethoven and Schubert who all confessed to have learned from him. Yet he never founded any school. His way of composing is singular, intelectual, often somewhat hard edged, always stern, even when he was being witty. It‘s music for intelligent listeners and outstanding musicians because, very much like Beethoven, he never had any regards for the instrument he was writing for.

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10 фев 2016

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Комментарии : 16   
@user-eb7uh1lt7j
@user-eb7uh1lt7j 6 месяцев назад
Bravo!!!
@jacksongrant15
@jacksongrant15 8 лет назад
What a find, this channel and particular playlist!
@LOFTmusicChannel
@LOFTmusicChannel 8 лет назад
+Jackson Witmer Thank you!
@Gerard-hu6kp
@Gerard-hu6kp 9 месяцев назад
Fine playing CPE Bach The great genius who s style and form changed the course of music in Europe in the 18th century
@elaineblackhurst1509
@elaineblackhurst1509 Месяц назад
Not really; CPE Bach spent most of his life relatively isolated in Berlin then Hamburg - even that most travelled of composers Mozart never made it to meet him. The exception to this of course is CPE’s Versuch (manual on keyboard playing) and the associated sonatas which became the basis of modern keyboard playing.
@marcusmillard8934
@marcusmillard8934 7 лет назад
THK LOFTmusic - Superb -Exhilarating!
@suikohi1656
@suikohi1656 2 года назад
0:25 0:35
@petertyrrell3391
@petertyrrell3391 4 года назад
Allegro di molto is not the same as prestissimo!
@adrianoseresi3525
@adrianoseresi3525 3 года назад
The world is faster than you, old codger; come to accept these things and you’ll enjoy yourself more, I can guarantee that.
@petertyrrell3391
@petertyrrell3391 3 года назад
@@adrianoseresi3525 Perhaps you like music played superficially, as it often is these days? I recommend you do some research on tempi in the 18th C and what speeds were possible.
@johnkiunke4508
@johnkiunke4508 Год назад
Allegro assai and presto according to quantz were ballpark 160, this performance is around 138-152
@petertyrrell3391
@petertyrrell3391 Год назад
@@johnkiunke4508 Quantz was unlikely to be measuring in the same way as we do. Carr in the 1820s gives prestissimo as 120 and Tuerk allegro assai as 136 as far as I can remember. Baroque allegros were slower than later ones.
@johnkiunke4508
@johnkiunke4508 Год назад
@@petertyrrell3391 who is Carr? MM from the repertoire list much higher for even Allegro in the 1820's. I would love to read that source.
@countbobula8071
@countbobula8071 4 года назад
1700s metal!!!
@paulbonge6617
@paulbonge6617 2 года назад
Yes, a wonderful performance, however I'm certain that KPE never intended the harpsichord to be entirely MUTE, in this Hogwood presentation the complete disregard for the harpsichord is disgraceful and its accompaniment seems only a frivolous afterthought on Hogwood's part. I wonder how Maestro Zander would present this same piece. Some 40 years ago, the only real fault I found in Rampal's recordings, where the harpsichord was his sole accompaniment, was the same disregard for the harpsichord and as much as I loved J.P. Rampal I always felt that his ego would not allow for the virtuosity of the accompanying harpsichord to be heard on his recordings. Or was it just a failing of Nonesuch in their recording? M. Robert Veyron Lacroix deserved better, and when I was able to filter the tracks and heard the harpsichord he was brilliant!
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