Podcasts about cpe bach

The (March) madness continues here on the CoffeHouse with MORE La Folia variations for you! We hope you enjoy this rendition from the classical era this week. Be sure to like and share with a friend!  Music: https://imslp.org/wiki/12_Variations_%C3%BCber_die_Folie_d%27Espagne,_Wq.118/9_(H.263)_(Bach,_Carl_Philipp_Emanuel) https://creativecommons.org/licenses/by-nc/3.0/legalcode

durée : 01:29:01 - Jean-Guihen Queyras, la réflexion et l'inspiration - par : Aurélie Moreau - Curiosité, diversité et concentration sur la musique elle-même caractérisent le travail artistique de Jean-Guihen Queyras, violoncelliste passionné, à la grande maîtrise technique. Aujourd'hui : Elgar, CPE Bach, Dvořák, Dutilleux, Rachmaninov, Bach…

Es knistert und leuchtet an allen Ecken. Erlebe eine besonders ruhige und besinnliche musikalische Gedankenreise. Philipp hat diese Woche Weihnachtsmusik aus Katolonien, Großbritannien oder Deutschland miteinander am Klavier verwoben. Diese Musikstücke hörst Du in dieser Folge: Traditional – "Dzisiaj w Betlejem" // Herbert Howells – "Here Is The Little Door" // Traditional – "Maria durch ein Dornwald ging" // CPE Bach – "Klavierkonzert D-Dur (Andante)" // Traditional – "El Noi de la Mare" // Den Podcast "Fanta Vier Forever, Baby!?!" von SWR 3 findest Du hier: https://www.ardaudiothek.de/sendung/fanta-vier-forever-baby/13908433/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib mir eine Mail: playlist@ndr.de

durée : 00:17:20 - Disques de légende du mardi 15 octobre 2024 - Ce disque de référence témoigne des recherche d'interprétation du violoncelliste hollandais Anner Bilsma et de la rencontre, fondamentale pour lui, avec Gustav Leonhardt.

durée : 00:17:20 - Disques de légende du mardi 15 octobre 2024 - Ce disque de référence témoigne des recherche d'interprétation du violoncelliste hollandais Anner Bilsma et de la rencontre, fondamentale pour lui, avec Gustav Leonhardt.

We revisit Chloe's Crain-Maling Foundation CSO Young Artists Competition finalist performance before a flute recital of Chaminade, Mozart, Rocherolle and CPE Bach with pianist Kay Kim. The post Chloe Nam, 16, flute appeared first on WFMT.

Diese Woche hat Philipp für dich besonders strukturierte Musik ausgesucht. Im Idealfall hilft sie dir dabei, dich zu konzentrieren. Lege den Fokus auf deinen Atmen, die Musik erledigt den Rest. Diese Musikstücke hörst Du in dieser Folge: Michael Nyman – "Molly" // Claude Debussy – "Arabesque Nr. 1" // Büdi Siebert – "Chinese Beauty" // CPE Bach – "Andante con tenerezza" // Sergej Rachmaninov – "Cellosonate (Andante)" // Den ARD Podcast "Weird Animals" findest du hier: https://www.ardaudiothek.de/sendung/weird-animals/13490917/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib mir eine Mail: playlist@ndr.de

In 1773, Carl Philipp Emanuel Bach sat down to record his life story. He'd been asked to write it down for a new book on German music and it made him one of the first composers to produce an autobiography. This week, Donald Macleod follows the composer's story, using Bach's own account as his guide. Bach's words provide fascinating insights into the things he considered most important but it's possible that what he chose to leave out is even more revealing.Music Featured: L'Aly Rupalich, Wq 117 No 27 Symphony for Strings and Continuo in G major, Wq 182 No 1 Fantasia for keyboard in C major, Wq 61 No 6 Trio Sonata in B minor, Wq 143 Keyboard Concerto in G major, Wq 3 Symphony in G major, Wq 173 (1st mvt) Trio Sonata in A Minor, Wq 148 Sonata in A minor, Wq 132 (1st mvt) Cello Concerto No 3 in A major, Wq 172 (2nd & 3rd mvts) Sonata in E minor, Wq 49 No 3 Magnificat in D, Wq 215 (1, Magnificat anima mea Dominum; 5, Fecit potentiam; 10. Sicut erat in principio) Keyboard Sonata in E flat major, Wq 52 No 1( 2nd & 3rd mvts) Sonata in C minor ‘Sanguineus and Melancholicus' Wq 161 No 1 Phyllis and Thirsis, Wq 232 (excerpt) Sinfonia in B-Flat Major, Wq 182 No 2 (3rd mvt) 30 Geistliche Gesänge mit Melodien, Book 2, Wq 198: (Nos 2 & 8) Die Israeliten in der Wüste, Wq 238 (extract from Part 1) Symphony in B minor, Wq 182 No 5 Rondo in E Major, Wq 58 No 3 Rondo in F Major, Wq 57 No 5 Sonata in D Minor, Wq 57 No 4 (2nd mvt) Quartet in G Major, Wq 95 (3rd mvt) Heilig, Wq 217 Keyboard Sonatina in D Major, Wq 109 Freye Fantasie in F sharp minor, Wq 80Presented by Donald Macleod Produced by Chris Taylor for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for CPE Bach (1714-1788) https://www.bbc.co.uk/programmes/m001yr0r And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

durée : 00:15:59 - Le Disque classique du jour du vendredi 19 janvier 2024 - Michael Alexander Willens, à la direction de l'Orchestre et du Chœur de l'Académie de Cologne, nous offre un enregistrement du "Magnificat" de Carl Philipp Emanuel Bach, avec également au programme la cantate de Noël "Auf, schicke dich, recht feierlich" et l'Aria "Spiega, Ammonia, fortunata"

Keith Jarrett's account of Carl Philipp Emanuel Bach's Württemberg Sonatas is a revelation. “I'd heard the sonatas played by harpsichordists, and felt there was a space left for a piano version,” says Jarrett today. This outstanding recording, made in May 1994 and previously unreleased, finds the pianist attuned to the expressive implications of the sonatas in every moment. The younger Bach's idiosyncrasies: the gentle playfulness of the music, the fondness for subtle and sudden tempo shifts, the extraordinary, rippling invention…all of this is wonderfully delivered. The fluidity of the whole performance has a quality that perhaps could be conveyed only by an artist of great improvisational skills. In Jarrett's hands, CPE Bach's exploration of new compositional forms retains the freshness of discovery. The pianist also takes to heart CPE's famous statement: “Since a musician cannot move others unless he himself is moved, he must of necessity feel all of the effects that he hopes to arouse in his listeners."Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com  This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Moin. Wir sind weintechnisch in Neuseeland und verkosten einen Chardonnay von Cloudy Bay. Außerdem hören wir das Album 'Carl Philipp Emanuel Bach' von Keith Jarrett, wo die Würtembergischen Sonaten von CPE Bach zu hören sind und 'Chris Black changed my life' Portugal. The Man. In unserer Philosophieecke sprechen wir darüber, ob es moralisch vertretbar ist Tiere zu essen.

What's it like being the son of the most influential composer of all time? See how Carl Philipp Emanuel Bach managed to secure his own legacy in the shadow of his father. We discuss wasted college degrees, overenthusiastic monarchs, and Breaking Bad. Twitter: @PianoRhapsody Email: pianorhapsodypodcast@gmail.com Find PianoRhapsody on SoundCloud for this recording and more!

CPE Bach's most famous work. Twitter: @PianoRhapsody Email: pianorhapsodypodcast@gmail.com Find PianoRhapsody on SoundCloud for this recording and more!

Marc-André Hamelin is one of the world's greatest living pianists. He is known as a virtuoso of the highest order and has made nearly 100 recordings spanning the gamut of the piano repertoire. In this conversation we talk about how Marc fell in love with Gershwin, piano rolls, Busoni, Godowsky, the nature of virutosity, Haydn, CPE Bach, programming, nerves on stage, and much much more! This was such a fun and wide-ranging conversation and I certainly learned a lot speaking with Marc about the piano. Join us!!

Hannah French is in Germany to mark the 40th anniversary of one of Europe's most successful early music ensembles - the Akademie für alte Musik Berlin. Founded in 1982 in what was then East Berlin, the Akademie has blossomed into a Grammy award-winning outfit that tours worldwide and enjoys a reputation to match. Hannah will be talking to the ensemble's general manager Uwe Schneider, long-standing oboist Xenia Löffler, founder member and concert master Bernhard Forck and one of the ensemble's eminent regular guest conductors – René Jacobs. Music includes the Akademie's recordings of JS Bach, CPE Bach, Handel, Mozart, Gluck, Telemann, Keiser and Vivaldi. Plus, there'll be the usual round-up of Early Music News with Mark Seow.

CPE Bach was the second son of Johann Sebastian and Maria Barbara Bach and to say he was a prolific composer is putting it mildly. CPE Bach wrote loads of flute music--sonatas, chamber music, and dazzling concerti. The tremendous output of flute music had to do with the fact that he had a flutist for a boss--Frederick the Great of Prussia. His touching Sonata in A minor for solo flute was composed in Berlin in 1747 and the opening movement is a palate of fall colors --golden yellows, reds, mahogany, and conifer green. This piece is a kind of meditation on the fall--it has an intimate quality unlike any other and it expresses the sadness of the passing of summer, the gratitude for the harvest, and the quality of turning inward as we light our fires and face the winter.  MUSIC:Georg Philip Telemann, Fantaisie No. 12, performed by Karen KevraC.P.E. Bach, Cello Concerto in A minor, Allegro assai, performed by Alison McGillivray, and The English Concert C.P.E. Bach Harpsichord Concerto in D Minor, Allegro, performed by Jean Rondeau, with Sophie Gent, Louis Creac'h, Fanny Paccoud, Antoine Touche, Thomas de Pierrefeu, Evolène Kiener C.P.E. Bach Flute Concerto In D Minor,  Allegro Di Molto, performed by Jean-Pierre Rampal-flute, Pierre Boulez-conductor  C.P.E. Bach Sonata in A minor for unaccompanied flute, performed by Karen Kevra Robert Frost recites "Reluctance" -included for educational purposesPhotograph: Cornwall, Vermont backyard by Karen Kevra  Support the show

Mercury performs works by Haydn, CPE Bach, Mendelssohn, and Mozart.

durée : 00:15:29 - Le Disque classique du jour du mercredi 05 octobre 2022 - Après son pétillant disque CPE Bach, paru sur l'étiquette Hyperion en janvier 2022, Marc-André Hamelin revient avec un disque consacré au Rag, cette musique popularisée par Scott Joplin notamment. Ici, ce sont les rags de William Bolcom que l'on retrouve. On écoute !

During holiday periods, we occasionally return to past podcasts, and this week, prompted by the news that he is about to release a new album inspired by an encounter with György Kurtág, we revisit a conversation from September 2021 with the Icelandic pianist Víkingur Ólafsson.  James Jolly caught up by video call with the pianist at his home in Iceland just a few days after Ólafsson's triumphant debut at the 2021 BBC Proms to talk about the album 'Mozart & Contemporaries' which gathers music by CPE Bach, Galuppi, Cimarosa and Haydn around the great Wolfgang Amadeus.

durée : 01:58:14 - Été Classique Matin du mardi 05 juillet 2022 - par : Jean-Baptiste Urbain - Mais aussi Cécile Chaminade, Brahms, Platti, Viardot, Fasch, Weill, Fauré, Louis de Caix d'Hervelois, Mozart, Manoury, Rachmaninov et bien d'autres encore - réalisé par : Arnaud Chappatte

MÚSICA Carl Philipp Emanuel Bach - Poco Adagio Sonata in re min for cello solo (CD) Vito Paternoster: Solo cello works by JS Bach, CPE Bach, Biber, and Paternoster © Magnatune – www.magnatune.com -- AUTOR DOS TEXTOS P. Gonçalo Miller Guerra, sj -- LEITORES Madalena Oliveira (pontos) Pedro Portela (textos bíblicos)

Moin! Es wird wieder bunt bei uns. Wir beginnen mit 'See through You' von A Place To Bury Strangers, machen weiter mit 'Never let me go' von Placebo und enden schließlich mit der 'Auferstehung und Himmelfahrt Jesu' von CPE Bach interpretiert von Lore Binon, Kieran Carrel, Andreas Wolf, dem Vlaams Radiokoor, dem Il Gardellino Baroque Orchestra und Bart van Reyn. Wein gibt's natürlich auch wieder, nämlich Scheurebe aus dem Jahr 2020 vom Weingut Weegmüller.

0:00 Intro 0:36 Start 1:58 What made you want to analyze Bach's 48 preludes? 4:26 Every prelude in the book has been transposed to C or Am 6:22 Is there one perfect analysis of Bach's compositions? 8:30 "The Walled Park of Closely Related Keys" 12:11 Would Bach go from C major directly to E minor? 12:42 Bach's use of closely related keys in the preludes 14:35 Looking at an example from the book 17:23 Talking about the nature of modulations in the 18th-century 22:02 Is Bach a galant musician, old school, or a transitional figure? 25:30 Do Heinichen and CPE Bach share any similarities in their systems of thoroughbass? 35:42 What is Bach's typical behavior in employing satzmodelle (schema theory)? 40:31 Is there anything controversial about your analysis of these preludes? 42:57 What would you say to someone who analyzes music with roman numerals and harmonic function theory about your book? 47:23 Which of the 48 preludes was the hardest to analyze? 58:23 What's the best way to realizing figures correctly? 1:04:40 How do you memorize all these rules of thoroughbass? 1:09:54 Reading Furno and learning that music is composed of consonances and dissonances 1:11:53 Does your interpretation of repertoire change from knowing thoroughbass? 1:16:24 What is the state of music theory in music education, how has it changed? 1:22:17 What future research would be good for thoroughbass?

We'll hear music of Francois Devienne, CPE Bach, and Frédéric Duvernoy performed in 1988 by Colin St. Martin and Richard Seraphinoff, who were students at the IU Early Music Institute at that time.

We'll hear music of Francois Devienne, CPE Bach, and Frédéric Duvernoy performed in 1988 by Colin St. Martin and Richard Seraphinoff, who were students at the IU Early Music Institute at that time.

Pastor Carolyn Hetrick of Grace Lutheran Church, State College, PA discusses the prayer and lessons for the 25th Sunday After Pentecost, November 14, 2021Pastor Schul will be preaching upon his return from a retreat.Daniel 12:1-3 Psalm 16 Hebrews 10:11-14, 19-25 Mark 13:1-8 Music - Adagio from Sonata in A Minor, CPE Bach preformed by Laurel Sanders.Worship resources from www.sundaysandseasons.com, copyright 2021, Augsburg Fortress. All rights reserved. Used with permission under Augsburg Fortress Liturgies Annual License #20807​. Permission to reprint, podcast, and / or stream the music in this service obtained from ONE LICENSE with license #A-700989. All rights reserved.

durée : 00:25:21 - Florence Malgoire, violoniste (1/5) - par : Benjamin François - Toute son enfance, Florence Malgoire navigue entre l'accent du nord de sa mère et celui, chantant, de son père Jean-Claude, natif d'Avignon. A l'âge de 7 ans, elle choisit le violon, fascinée par le jeu de David Oistrakh. Pendant ce temps, Jean-Claude Malgoire crée son Florilegium Musicum de Paris… - réalisé par : Gilles Blanchard

Jess Gillam and cellist Gabriella Swallow share the music they love including Scott Walker's Sleepwalkers Woman, Barbara Hendricks singing Britten, electricity and fire from CPE Bach, love and longing from Carole King and Stravinsky is at The Fair. Playlist: Stravinsky – Petrushka First Tableau: The Shrovetide Fair [Concertgebouw, Riccardo Chailly] Chilly Gonzales - Overnight Benjamin Britten – Les Illuminations, Op. 18 IX. Depart [Barbara Hendricks, English Chamber Orchestra, Sir Colin Davis] Alfa Mist - Mulago John Adams – Shaker Loops IV. A Final Shaking [Orchestra Of St. Luke's, John Adams] Carole King – So Far Away CPE Bach: Flute Concerto in A minor, Wq.166, H.431 1. Allegro Assai [Emmanuel Pahud, Kammerakademie Potsdam, Trevor Pinnock] Scott Walker – Sleepwalkers Woman

We are back with the 2nd season of our podcast dedicated to sight-reading in music! It is going to be an exciting season. Our first guest is Alexis Kossenko. « Alexis Kossenko is a multi-skilled young genius whose career will take him where he wills. (…) Few conductors are so compelling to watch, whether by his players or we listeners, but there is no 'showing off' to impress an audience. » (Musical Pointers) We met Alexis in Riehen and had a short interview with him in a cafe before his recording of Mozart Concertos, it was a very inspiring conversation! After that we met at the Schola Cantorum for a short sight-reading session of a Sonata for 2 flutes and Cembalo by Johann Sebastian Bach, BWV 1028, reconstructed by J. Bopp. Born in Nice, Alexis Kossenko performs as a soloist with Deutsche Symphonie-Orchester Berlin, Stockholm Philharmonic Orchestra, Concerto Copenhagen, Ensemble Matheus, Philharmonie der Nationen, La Grande Ecurie et la Chambre du Roy, Concert d'Astrée, Stradivaria, Barokksolistene, B'Rock, Le Cercle de l'Harmonie, La Chambre Philharmonique, Modo Antiquo, Le Concert Lorrain, Holland Baroque Society, Helsinki Baroque Orchestra, in a repertoire ranging from Vivaldi to Khachaturian including Mozart concertos on tour with Emmanuel Krivine. He therefore recently performed in Berlin Philharmonie, Stockholm Philharmonie, Moscow Philharmonie, Franz Liszt Concert Hall in Budapest, Wigmore Hall and Royal Albert Hall in London, Mozarteum Salzburg, Théâtre des Champs-Elysées and Salle Gaveau in Paris, Opéra Royal and Chapelle Royale in Versailles, Ton-Halle in Zürich, Bruges and Amsterdam Concertgebouw. Fine connaisseur of all the historical forms of his instrument, Alexis Kossenko plays as well on the modern flute (he was awarded from Conservatoire National Supérieur de Paris in the class of Alain Marion) as on baroque flute, classical and romantic flutes, or recorder. He is now first flautist of La Chambre Philharmonique (dir. Emmanuel Krivine), Ensemble Matheus (dir . Jean-Christophe Spinosi), Gli Angeli Genève (Stephan MacLeod), Le Concert Spirituel (Hervé Niquet) and from now Orchestre des Champs-Elysées (dir. Philippe Herreweghe), He recorded flute concertos by Nielsen, Telemann, Haydn, Touchemoulin, and specially, for French label Alpha, the complete concertos by CPE Bach, Vivaldi concertos (Editor's Choice de Gramophone) and Charpentier leçons de ténèbres with baryton Stephan MacLeod. As a conductor, Alexis Kossenko was invited by European Union Baroque Orchestra, B'Rock, Le Concert d'Astrée, Holland Baroque Society, Arte dei Suonatori, Musica Viva Moscow ; But it is at the head of Les Ambassadeurs that he undertakes his most significant projects, such as the new series for Alpha « per l'orchestra di Dresda » as well as an intense work on Rameau, Purcell, CPE Bach and Mozart. https://en.wikipedia.org/wiki/Alexis_Kossenko https://www.les-ambassadeurs.com/ Follow our Instagram and Telegram channels where you can see some pictures from sight-reading sessions and where you can write us https://t.me/insight_reading_enlightenment https://www.instagram.com/insight_reading_enlightenment/ YouTube https://www.youtube.com/channel/UCgJqHSY4qpaFAU95PaB6AjA Yours Darina and Sebastien #flute #traverso #alexiskossenko #kossenko #podcast #earlymusic #earlymusicpodcast #insightreadingenlightenment --- Send in a voice message: https://podcasters.spotify.com/pod/show/insight-reading/message

Gramophone's Artist of the Year for 2019, Víkingur Ólafsson, has recorded three critically acclaimed albums for DG, and now he adds a fourth entitled 'Mozart & Contemporaries' which gathers music by CPE Bach, Galuppi, Cimarosa and Haydn around the great Wolfgang Amadeus. James Jolly caught up by video call with the pianist at his home in Iceland just a few days after Ólafsson's triumphant debut at the BBC Proms where he joined the Philharmonia and Paavo Järvi in concertos by JS Bach and Mozart.

DOG GONE CALM, Vol. 1 FULL ALBUM ON ALL STREAMING CHANNELS:Click to listen on your favorite streaming appJOIN THE DOG  GONE CALM CLUB WAITLIST:http://doggonecalmclub.comMUSIC ON THIS EPISODE:Karganoff Arabesque, CPE Bach  Rondo Espressivo, Handel SarabandeFACEBOOK GROUP BY SEPARATION ANXIETY SPECIALIST NESS JONES:Facebook.com/groups/separationanxietyindogsdecoded/YOUR TREAT AT MYZENPET.COM:5 Simple Ways to Upgrade Your Dog Friendly Sound Environment (without spending a dime)TRAINING TIPS AND VOLUME SUGGESTIONS:myzenpet.com/traning-tips/DOGTV:Promo code for a FREE month of DogTV (Promo code LISADOGTV will automatically be applied) Lisa's segment from Your Dog's New NormalLisa's segment from Prime Your Dog for July 4th (at 8:45)OTHER LINKS:Instagram: @My_Zen_Pet   @LisaSpectorPianoFacebook:       My Zen Pet      LisaSpectorPianistPodcast Website: MyZenPet.com/podcastLisa Spector's Website: LisaSpector.comClubhouse: @lisaspectorYouTube: LisaSpector

Here's a delicious Telemann sandwich filled with CPE Bach! (Hold the mayo and mustard.)

Here's a delicious Telemann sandwich filled with CPE Bach! (Hold the mayo and mustard.)

The focus of our interest in today's reading session is a beautiful flute or violin sonata H. 542.5 BWV 1020 that was for a long time attributed to Johann Sebastian Bach. We will try to discover the stylistic details and experiment with the instrumentation in this piece. A special instrument that we are using today is a copy of one of the first instruments that was created by Bartolomeo Cristofori, who was an Italian maker of musical instruments famous for inventing the piano. You can take a look at the score here: https://ks.imslp.net/files/imglnks/usimg/6/6b/IMSLP02255-BGA_-_C.P.E._Bach_-_H_542.5.pdf And here is some information about Bartolomeo Cristofori: https://en.wikipedia.org/wiki/Bartolomeo_Cristofori and CPE Bach: https://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bach Follow our Instagram and Telegram channels where you can see some pictures from sight-reading sessions and where you can write us https://www.instagram.com/insight_reading_enlightenment/   https://t.me/insight_reading_enlightenment    Yours Darina and Sebastien --- Send in a voice message: https://podcasters.spotify.com/pod/show/insight-reading/message

This week my guest is vocalist, pianist, composer, arranger Janet Tenaj. We talk about learning CPE Bach and J.S. Bach music and Black Lives Matter    And the feet of dancers. Listen in to find out what all that means.https://www.svenandjanetjazz.com/This podcast is sponsored byMichigan ArtShareJazz Alliance of Mid-Michigan J.A.M.M.Shambones MusicTo become a sponsor for this podcast, go to the Patreon link below.https://www.patreon.com/TiaTime1Produced by Green Bow Music

Host Guy Fishman is joined by Dr. Robert Bellinger (Associate Professor of History, Suffolk University) to discuss what life was like in Lexington, the site of the beginnings of the Revolutionary War and H+H's recent Mozart, CPE Bach, and Friends concert. Dr. Bellinger is Director of Suffolk University's Black Studies Program and Clark Collection of African American Literature. His academic specializations include African American and American History, the African Diaspora, and the history and culture of Senegal. Written and produced by Guy Fishman

Broadcaster and baroque flautist Hannah French selects her favourite recording of CPE Bach's Cello Concerto in A Major. Cellists featured include Alison McGillivray, Steve Isserlis and Truls Mørk. Conductors range from Andrew Manze and Jonathan Cohen to Gustav Leonhardt and Susanne von Gutzeit. Andrew McGregor presents.

In this week raising awareness of mental health, Hannah French considers Music for Melancholy. From Dowland's Flow, My Tears to David's Harp, she's off in search of music with the power to balance the humours and transform the spirit. CPE Bach offers a contest between Sanguinius and Melancholicus and Michel Richard Delalande emerges as a figure who turned to music when faced with mental trials both great and small.

This episode is also available as a blog post: https://theoryofmusic.wordpress.com/2007/12/19/cpe-bach%e2%80%99s-alternative-to-rameau%e2%80%99s-theory-of-the-fundamental-bass/

ZEN PET TRAINING TIP:Being present with your petsMUSIC:CPE Bach Rondo Espressivo FREE DOG GONE CALM PLAYLIST:MyZenPet.com OTHER LINKS:Instagram: @My_Zen_Pet   @LisaSpectorPianoFacebook:       My Zen Pet      LisaSpectorPianistLisa Spector's Website: LisaSpector.comClubhouse: @lisaspectorYouTube: LisaSpectorHappy Mother's Day! Love, Fido Gina's Mother's Day Card to Lisa My Zen Pet is dedicated to helping pets and working dogs find their calm. 

Camille De Rijck reçoit chaque semaine interprètes, critiques, compositeurs ou chefs d'orchestre pour une comparaison à l'aveugle de différentes versions d'une oeuvre-phare du répertoire. Un rendez-vous très suivi par les mélomanes, désireux de confronter leur opinion avec celles de professionnels passionnés. Production et présentation : Camille De Rijck

REED TALK Episode 14 features Grammy Award Winner Alex Klein. In this fascinating episode, Alex sheds light on how cane properties influence our reeds and why he approaches reed making using the scientific method. He also offers a candid conversation about his experience with focal dystonia and pays tribute to his mentor James Caldwell. Music excerpts: Três Peças Atlânticas: Chorinho baiano by Eurico Carrapatoso, performed by Courtney Miller; Sonata in A minor by CPE Bach, Allegro, performed by Alex Klein and Le Prudent from Cinquième Suitte by Jean-François Boüin, performed by Margaret Marco. Many thanks to Reedesign for sponsoring this episode. Reed Talk is produced by Jason Slote. Listen where you listen or at https://www.spreaker.com/show/reed-talk

Kai-Uwe Jirka, der Leiter des Staats- und Domchores Berlin, erklärt, warum Jungschöre noch zeitgemäß sind, warum Singen glücklich macht, wie man einen Chor mit innovativen Ideen durch die Corona-Krise bringt und wie es ist, während der Pandemie vor Altenheimen zu singen. Dazu gibt es Musik von CPE Bach, Jacques Offenbach und Pete Seeger.

MOZART, BEETHOVEN & MAS recognizes the music of CARL PHILIP EMMANEUL BACH (CPE BACH) presenting his flute and cello concertos.

MOZART, BEETHOVEN & MAS recognizes the musicof CARL PHILIP EMMANEUL BACH (CPE BACH)presenting his flute and cello concertos.

BE STILL YR BEATING HEARTS A BRAN-NEW VALUE-FOR-VALUE-ROLE-PLAYING-GAME SIX OF SWORDS WITH DOCTOR FARRELL CHECK IT OUT AND DONATE AT WWW.OCCULTFAN.COM WHATEVER VALUE YOU GET FROM THIS SIX OF SWORDS WHATEVER YOUR VALUE IS THAT'S WHAT YOU GIVE! TYFYC ^^

I am so honored to be speaking to a great guest today, Professor Thomas Christensen. Professor Christensen is the Avalon Foundation Professor of Music and Humanities at the University of Chicago. His scholarly research focuses on the history of music theory and his most recent book is “Tonality in the Age of François-Joseph Fetis” published by the University of Chicago Press in 2019. 0:39 What's your background? 1:41 What was the state of research in the history of music theory when you began? 2:52 How did you come to focus on Thoroughbass in your research? 4:30 What was the perception of Thoroughbass in the 70s-90s? 5:36 The different schools of Thoroughbass 7:01 What key differences are there among the French, German or Italian Thoroughbass traditions? 8:57 JS Bach and his views on Thoroughbass' importance 10:17 When Thoroughbass first appeared on the scene, was the initial criticism of it justified? 12:40 Did Thoroughbass having nothing to say about melody like Mattheson says? 13:44 How should we view Rameau beyond his cartoonish image as the Fundamental Bass guy? 15:49 Did he separate his scientific, theoretical views on music with his practical side? 17:59 Rameau's pedagogical heuristic to help students simply the total mass of chords into fundamental types 20:03 Fundamental chords being slower to mental analyze than simply reading from the given bass 21:27 Rameau's practical nature as a musician 22:32 Why were CPE Bach and Kirnberger so hostile to Rameau? 24:56 Did chord invertibility originate with Rameau or earlier? 27:03 Was the rise of lots of new harmonies and chords naturally yield to a need to categorize chords into fundamental types? 29:20 Did Rameau speak of counterpoint in his treatises? 31:17 Rameau trying to reconcile his theories with the Rule of the Octave 33:07 The chord on the 6th scale degree connecting to the 7th scale degree being a problem for Rameau 34:15 Rameau's influence in Italy 35:44 Were Rameau's theories appealing because they were considered more scientific than counterpoint? 38:20 Why did you select François-Joseph Fetis as a subject of study? 40:24 Did Fetis teach according to Catel's methods? 42:13 Fetis vs Berlioz 43:56 Did they have valid opinions in their dispute? 46:31 Fetis' influence on later theorists and his key contributions 49:02 Some people say thinking in terms of Roman Numerals is vertically oriented but isn't Thoroughbass practice the same? 51:07 Are Rimsky-Korsakov and Schoenberg correct when they say that the study of Thoroughbass is no longer needed? 53:37 Did Nadia Boulanger bring out modern tonality despite teaching older methods like partimenti and thoroughbass? 55:28 What do you think of your important research being influential for future partimento and thoroughbass enthusiasts? 59:10 Can we apply Thoroughbass to music like jazz and popular music without any issue? 1:01:13 On Letters and Chord Symbols being harder to calculate vs reading figures 1:04:39 What's the best way to learn Thoroughbass? 1:06:05 Are there any Thoroughbass treatises that you recommend? 1:08:43 Wrapping Up

Baroque, Classical and Romantic... the big categories of music history all have their big-name composers. But what about the composers less easy to categorise, the ones who fall in between the gaps? Tom Service goes in search of the Inbetweeners from all eras and, with the help of CPE Bach aficionado Andreas Staier, discovers how these once hugely influential figures still speak directly to us now. David Papp (producer)

Erik washes away the stress of election week with C.P.E. Bach's Sonata for Solo Flute in A Minor, Wq. 132, H 562, arranged by Sunil Gadgil. Check him out at sunilgadgil.com! Get in touch at lttcapshow@gmail.com or eriksteighner.com

The final episode explores Jørn Utzon’s tapestry Homage to C.P.E Bach as an expression of music through design and representation of reconciliation. Architect Richard Johnson discusses the process of re-engaging with Utzon nearly four decades after he left the project, the design of the Utzon Room – the only Opera House performance venue entirely designed by Utzon – where the tapestry hangs, and the ongoing application of Utzon’s Design Principles that help ensure the building’s architectural integrity is maintained as it evolves to meet the expectations of future generations.

This week, we discuss J.S. Bach's son Carl Philip Emanuel, a.k.a. CPE Bach! Learn about the man who singlehandedly bridged the Baroque and Classical eras of music! Recording of Die Auferstehung: https://www.youtube.com/watch?v=fDdsktjEFAA&t=422s Set of Harpsichord sonatas (we're discussing #4): https://imslp.org/wiki/Special:ImagefromIndex/03752/hfjn We do not own any rights to the music featured on this podcast; all music featured is used solely for educational purposes. Logo by Sabrina Handal.

Jess Gillam and cellist Sergio Serra share the music they love, including Estrella Morente, Pekka Kuusisto, Stan Getz and CPE Bach. Playlist: Merula - Ciacconna and harpsichord improvisation (Il Giardino Armonico) Kurt Weill arr. Richard Rodney Bennett - It Was Never You (Barbara Thompson, The Medici Quartet) Dinosaur - Set Free Sibelius - 5 pieces; no. 1 (Pekka Kuusisto, Heini Karkkainen) Estrella Morente - La Gazpacha, La Repompa, La Tia Concha Eddie Sauter - Pan (Stan Getz) C.P.E Bach - Cello Concerto in A Major, Wq. 172: II. Largo maestoso (Jean-Guihen Queyras, Ensemble Resonanz, Riccardo Minasi) Tchaikovsky - Symphony no. 5 (Op. 64) in E minor, 4th mvt; Finale (Andante maestoso) (Leningrad Philharmonic Orchestra, Evgeny Mravinsky)

My guest today is Music Theorist, Organist and Composer, Derek Remeš. He is known for his research into the pedagogy behind Johann Sebastian's Bach method of composition and improvisation. He also is the admin for Facebook group that he started,”Composition and Improvisation in J.S. Bach's Germany”. ----- 0:36 What is your musical background? 2:37 Has anyone in Bach research looked at his craft of improvisation? 4:47 Do all organists have to improvise? 5:47 Did you have a background in improvisation before learning the organ? 6:45 The terminology of thoroughbass 7:49 Would Bach have used the term thoroughbass? 7:58 What do we know of Bach the teacher? Did he have many students and how long did he teach in his career? 10:09 How does thoroughbass relate to Counterpoint and did they talk about Counterpoint much? 15:18 CPE Bach mentioning that JS Bach avoided the “dry” exercises of species counterpoint 16:43 LM 4665, the anonymous manuscript that contained thoroughbass fugues 19:04 How did Bach begin teaching new students? 19:53 Did Bach expect strict counterpoint in thoroughbass? 21:06 How about parallel movement in the middle voices? 22:40 Did he stay with 4 voices or did he eventually shrink down to 3 or 2 voices? 25:17 Was there any instruction in how to write melodies? Like how the Italians practiced Solfeggio. 26:49 The Italian partimenti eventually had no figures, was that the same for Bach? 28:27 Did Heinichen, Niedt and Bach share the same conception of thoroughbass? 31:51 Heinichen updated treatise, after his trip to Italy and the connection to Bach 33:07 What are the differences between Heinichen's first treatise and his later updated version? 39:35 Is Heinichen an innovator? 42:03 After thoroughbass, the student moves on to chorales 43:40 The same melody in chorales but multiple, different basses with figures 45:37 Did they use solfeggio syllables like Do, Re Mi, Fa Sol, La? 49:01 Modes vs Major/Minor 49:35 What temperament are we supposed to play Bach's music in? 50:44 Going from chorales to fugues, when does the study of imitation happen? 53:56 Does being good at thoroughbass prepare you well for fugues? 54:51 Do you find that the study of thoroughbass has helped you in understanding tonal music of other eras? 56:09 What's the best way in your opinion, to learn counterpoint? 57:46 How would you reform music education? 1:02:22 On the modern use of “tonal” as a flippant, pejorative 1:03:43 Wrapping Up

durée : 00:13:22 - Le Disque classique du jour du lundi 22 juin 2020 - Carl Philipp Emanuel Bach est un compositeur intrigant, différent et Christian Zacharias l'a bien compris ! Ne cherchez pas ce disque en physique car il est vendu uniquement en version dématérialisée. Il s'agit d'une captation de concert donné aux côtés de l'Orchestre National d'Auvergne...

My guest today is Professor John Mortensen, a leading performer, scholar and teacher in classical or historic improvisation, Steinway Artist, Fulbright Scholar, and is a professor of Music at Cedarville University. His new book is “The Pianist's guide to Historic Improvisation”, published by Oxford University Press. Kate Boyd, Professor of Music at Butler University reviewed the book by saying, "This book fills an important niche in the world of piano and keyboard pedagogy. In each of the chapters Mortensen encourages the reader's creativity, simultaneously exposing the musical building blocks used by some of the great composers and allowing the reader to apply those same compositional techniques to improvising in a stylistically-appropriate way.” Noam Sivan, Professor of Piano Improvisation, Hochschule of Music and Performing Arts, Stuttgart reviewed the book saying, "Any language study based solely on reading without speaking, would be incomplete. Similarly, the study of improvisation is indispensable for learning music. In this important book John Mortensen wonderfully demystifies the creative process and presents a clear and gradual method for learning to speak the language of J. S. Bach and his contemporaries. Highly recommended!” It debuted at #1 on Amazon's Piano and Music Instruction category. ------- 1:41 What was the landscape for books on classical improvisation before the publishing of his book 3:35 How long did it take you to write the book, and did you have to revise the book as new information kept coming out? 4:22 Who is the book written for? 5:37 Does the book lean Italian or German in it's approach? 7:12 What prerequisites do you need to create a figuration prelude? 8:12 What harmonies do you need to know to start your figuration prelude? 10:01 How do you break up the chord and how many types of figurations that you can come up with? 10:46 The effectiveness of figuration preludes in getting newcomers to creating music right away 11:29 Why is Toccata chapter 2? 12:56 What's the amount of harmonic knowledge you need to improvise Toccatas? 13:37 Do you teach cadences in the book? 13:57 The Rule of the Octave and how important it is? 16:08 Which version of the Rule of the Octave do you want students to start with? 17:50 CPE Bach's multitude of Rule of Octave versions 18:51 Diminutions 21:19 What about 16th notes? 22:14 How do you avoid contrapuntal mistakes in improvisation? 23:37 Do you encourage students look at the piano literature and steal ideas? 24:23 Variations 27:48 What's the way to develop melodic lyricism? 31:42 How do I finger all these examples in the book? 32:36 Friedrich Erhard Niedt and the suite 35:52 Imitation 38:30 Counterpoint 39:57 Is Counterpoint not being taught correctly? 40:57 Partimento 42:27 The benefits of partimento with regular music students 45:09 The overwhelming positive feedback to classical improvisation 46:00 How does the scene compare to 10 years ago? 48:17 Schemata 50:00 Interest in traditional Irish music? 50:51 The parallels between Celtic improvisation and Classical improvisation 52:28 On being denied visiting a University because the top professor could not improvise 53:44 Is a classical improvisation renaissance happening? 54:20 Publishing with Oxford University Press? 55:52 What are your thoughts on hexachordal solfeggio practiced by the Neapolitans as researched by Nicholas Baragwanath? 58:57 Wrapping Up

So privileged to introduced my guest today one of the greats, pianist, musicologist and educator Professor Tibor Szasz. He has given over 1000 solo, concerto, and chamber music performances all over the world. His recordings of Beethoven, Chopin, Liszt, Mendelssohn, Schubert, and Bartók have been issued in the United States and Germany. Tibor Szász holds a Doctor of Musical Arts in piano performance from the University of Michigan, and is a Tenured professor of piano at the Hoshschule fur Music Freiburg in Germany. ----- 0:48 How old were you when you started playing the piano 1:42 Was it a weekly lesson or multiple times a week? 2:18 How many hours a day did you practice? 3:08 What kind of music did you play growing up? 4:25 Do you have Absolute or Perfect Pitch? 6:20 Did you get rid of your perfect pitch? 6:59 What do you make of different tunings? 10:31 Is there a difference between 440Hz and 432Hz? 11:31 What is your perspective of equal temperament vs other tunings? 16:57 Did you improvise as a child growing up? 19:49 Was there a prejudice against improvisation in your career? 23:04 Touring with Béla Bartók's son in 1977 28:22 Was his son much older than you at the time? 34:11 Carnegie Hall debut in 1977 35:57 Did you meet Vladimir Horowitz? 37:49 What did Horowitz think about your performance of the Liszt Sonata? 40:09 Enraging Horowitz at a Q&A 41:07 Does being Hungarian give you greater insight into Liszt's music? 42:32 Beethoven article about basso continuo in the Emperor Concerto 47:25 Did Beethoven abolish improvising cadenzas in concertos? 49:25 The disappearance of continuo in the Romantic concerto 51:55 Robert Levin's reaction to your Continuo article and your relationship with him 52:20 Were there other concert pianists who could read figure bass? 55:31 CPE Bach who said that the Harpsichord's absence could be felt if it didn't play continuo 56:31 Do find that most pianists do not realize continuo notation in concertos in the modern age? 57:27 Isn't Urtext supposed to be THE authentic musical text of the composition? 1:00:57 What is the definition of Il Filo? 1:02:49 What are these building blocks in Il Filo? 1:03:43 How do you get better at developing Il Filo? 1:05:27 How does a student learn basso continuo? 1:07:06 How would you reform music education? 1:10:07 Wrapping Up 1:10:47 Where can people find you?

In this episode of Spoleto Backstage , Geoff Nuttall introduces Bradley Fuller to another of the most memorable Spoleto Festival USA chamber music programs from the past decade. This 2016 concert includes moving arias by Handel (with countertenor Anthony Roth Costanzo performing), an expressive keyboard sonata by CPE Bach, and César Franck’s intensely passionate Piano Quintet in F minor. Following the performance, Bradley speaks with violist, educator, and intended composer-in-residence for the 2020 chamber music series Jessica Meyer. A recording of Meyer’s Seasons of Basho—a work slated for performance in the chamber series—comes after their conversation.

Denna vecka recenserar vi en ny inspelning av klaververk av CPE Bach, Strauss Die Frau ohne Schatten med Nina Stemme, samt en skiva med konserter av danske tonsättaren Bent Sörensen. Dessutom berättar Hanna Höglund om hur det indonesiska slagverksinstrumentet gamelan kommit att påverka den västerländska konstmusiken under 1900-talet. I veckans panel: kompositören Benjamin Staern, dirigenten David Björkman och musikvetaren Edward Klingspor. Programledare är Johan Korssell. Veckans skivor: Bent Sörensen - Concertos Leif Ove Andsnes, Martin Fröst, Tine Thing Helseth Norska kammarorkestern Danska nationella symfoniorkestern Per Kristian Skalstad och Thomas Söndergård, dirigenter CPE Bach - The solo keyboard music, vol 39 Miklós Spányi, cembalo Richard Strauss - Die Frau Ohne Schatten Stephen Gould, Camilla Nylund, Nina Stemme, m fl Wiens statsoperas orkester och kör Christian Thielemann, dirigent

I'm so pleased to introduce my guest today Harpsichordist, Improviser and Conductor, Professor Ewald Demeyere. Professor Demeyere studied at the Royal Conservatoire of Antwerp obtaining his master's degree for harpsichord in Jos van Immerseel's class. On completion of his studies in 1997 he was engaged as a teacher of harmony, counterpoint and fugue by the Royal Conservatoire of Antwerp. In 2002 he succeeded Jos van Immerseel as Professor of Harpsichord and he is also a professor at IMEP in Belgium. A specialist in Early Music, Partimento and counterpoint, he was the winner of the CPE Bach Counterpoint Contest. As a recording artist he has recorded many albums including Tears, Harpsichord Laments of the 17th century, 18th century flemish harpsichord music, Telemann Les nations - Overture & Oboe concertos, Mozart's Gran Partita and many more. ----- 1:11 How old were you, when you started music? 2:22 Did you start piano or harpsichord lessons really young? 3:05 Do you have perfect pitch? 4:00 Does it bother you to keep playing in different frequencies? 5:05 Did you improvise as a child? 7:13 How did the people around you react to your improvisation growing up? 8:59 Did you read CPE Bach's treatise on improvisation? 11:00 How did you learn counterpoint? 12:47 Can you describe how you came to partimento? 15:20 How did you begin to develop your partimento skills? 18:21 Did you use Fenaroli's partimenti? 24:43 Is there information missing in Fenaroli's rules? 28:31 How would you make a study plan for a new, young student in partimento? 31:05 Tackling Fenaroli's partimento Book 1, Number 1 35:18 Playing partimenti in the minor mode 37:43 Does it feel natural after doing it for awhile? 40:49 What's a good way to learn the dissonances? 43:55 How do you learn dissonances in the right hand? 46:05 What are some common mistakes or challenges for new students? 50:22 Can you comment on Fenaroli Book 2 53:14 Did Imbimbo mess up the order of the Fenaroli books? 56:46 Teaching improvisation and your work on Tonal Tools 1:01:00 Upcoming projects in 2020 1:02:07 What kind of non-18th century music do you enjoy? 1:03:05 How would you reform music education for young children 1:05:58 Wrapping Up

durée : 01:58:36 - Dames de cour - par : Frédéric Lodéon - Clara Schumann par Isata Kanneh-Mason. Richard Strauss par Diana Damrau. Xenia Löffler pour CPE Bach. Trio de Rebecca Clarke. Prokofiev par Martha Argerich et ses amis. Beethoven par Liya Petrova et Boris Kusnezow. Camille Thomas : Voice of Hope - réalisé par : Sophie Pichon

durée : 01:58:00 - En pistes ! du mercredi 12 février 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu également : le pianiste Ryutaro Suzuki associe œuvres françaises et japonaises dans son 2ème disque, les Concertos pour hautbois de CPE Bach par Xenia Löffler entourée de ses collègues de l’Akademie für Alte Musik Berlin, Beethoven sous les doigts du pianiste Kristian Bezuidenhout ... - réalisé par : Lionel Quantin

Violinist Tamsin Waley-Cohen and pianist James Baillieu discuss their latest collaboration on Signum Classics: the complete works for violin and keyboard by CPE Bach. Available on all streaming sites and for purchase via Signum Classics (https://signumrecords.com/product/cpe-bach/SIGCD573/) . 

This coffee break continues its wordy discussion about the power of silence in music. We listen to a Bach piece (CPE Bach, that is) that illustrates the importance of cadence points in creating drama and surprise. Is there a joke hidden in a Haydn composition when a breath is taken? We check it out. Can music be like a pointillist painting? There's a Haydn piano piece that says it's so. And we get the backstory on the Farewell Symphony. Contact the show at YCCB@mauriceriverpress.com

"Er ist der Vater, wir die Bub'n", sagte Mozart über Carl Philipp Emanuel Bach. In den Cellokonzerten mit Roel Dieltiens und dem Orchestra of the 18th Century sorgt vor allem sein Einfallsreichtum für immer neue Momente des Staunens.

Carl Phillip Emmanuel Bach, one of the sons ofJohann Sebastian, is one of the links between the music of the baroque and the classical period.

Carl Phillip Emmanuel Bach, one of the sons of Johann Sebastian, is one of the links between the music of the baroque and the classical period.

Donald Macleod tells the story of the loss - and later rediscovery - of CPE Bach’s music Carl Philipp Emanuel Bach was many things in his lifetime: composer, virtuoso harpsichord player and improviser extraordinaire, author, businessman – publishing his own music – biographer – of his father and other members of his family, and teacher. This week we look at CPE Bach's music and reputation in the light of the sensational rediscovery of much of his archive in 1999. Throughout the episode we'll hear recent recordings of this 'new' music. We’ll learn about CPE’s musical crowd-funding, his emotive Empfindsamer style, his life in Hamburg, and how the discovery has changed the way Bach and his music is seen in 2019. Music featured: L'Aly Rupalich, Wq 117 No 27 Keyboard Concerto in D minor, Wq 23 Heilig, Wq 217 Flute concerto in D Major, Wq 13 Solfeggio in C Minor, Wq 117 No 2 Free Fantasie in F sharp minor, Wq 67 Licht der Welt, von Gott gegeben, H 811 (Ehre sei Gott in der Höhe) Rondo II in D Minor, Wq 61 No 4 Flute Sonata in A minor, Wq 132 Solfeggio in C Minor Symphony in D Major, Wq 183 No 1 Fantasia No. 2 in C Major, Wq 59 No 6 Wer ist so würdig als du; Ach, ruft mich einst zu seinen Freuden, H 805 (Nun danket alle Gott) Sonata in C Minor, Wq 78 Morgengesang am Schöpfungsfeste, W 239 Magnificat anima mea Dominum, Et misericordia eius, Gloria Patri et Filio, Sicut erat in principio (Magnificat, Wq 215) Quartet in D Major, Wq 94 Rondo in A minor Wq 56 No 5 Gott fähret auf mit Jauchzen, Wq 240 (Die Auferstehung und Himmelfahrt Jesu) Leite mich nach deinem Willen, H 835 Cello Concerto in A major, Wq 172 (2nd mvt) Symphony in B minor, Wq 182 No 5 Sonata in C major, Wq 55 No 1 (Für Kenner und Liebhaber) Double Concerto for harpsichord and fortepiano in E Flat major, Wq 47 Presented by Donald Macleod Produced by Iain Chambers for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for CPE Bach https://www.bbc.co.uk/programmes/m0006fff And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

I'm so delighted to introduce my guest today, acclaimed Classical Pianist, Composer, Improviser, Musicologist and Conductor, Robert Levin! An international performing concert pianist, he has performed throughout the US, Europe, Australia and Asia. As a recording artist, he has recorded for DG Archiv, Decca, Deutsche Grammophon Yellow Label, SONY Classical and more. Levin is renowned for his restoration of the Classical period practice of improvised embellishments and cadenzas; his Mozart and Beethoven performances have been hailed for their active mastery of the Classical musical language. In addition to his performing activities, Robert Levin is a noted theorist and Mozart scholar, and is the author of a number of articles and essays on Mozart. His completions of Mozart fragments are published by Bärenreiter, Breitkopf & Härtel, Hänssler, and Peters, and have been recorded and performed throughout the world. In 2016 he was inducted as Honorary Member of the American Academy of Arts and Letters. He is currently the inaugural Hogwood Fellow of the Academy of Ancient Music for 2017 and 2018. ----- 2:05 - Hans Swarowsky telling him to improvise in Mozart Piano Concertos 4:13 - How old were you at the time? What was your musical training? 7:01 - Studying under Nadia Boulanger 8:10 - Did she play the organ? 8:17 - Were you a composer when you started out? 9:06 - Do you have perfect pitch? 11:16 - Organists have to improvise 11:29 - Did you learn thorough bass with Nadia Boulager? 12:58 - Was thorough bass an integral part of the training? 14:46 - Reacting to Schoenberg's negative comments about thorough bass 18:13 - Listening to Friedrich Gulda's recordings and self-teaching himself 22:25 - Mozart left over 140 unfinished works 24:01 - What was Mozart's training and how he learned music 25:30 - CPE Bach's "Essay on the True Art of Playing Keyboard Instruments" 27:57 - Fux's Counterpoint Treatise Gradus Ad Parnassum and Bach 31:07 - Different ways to learn counterpoint and improvising fugues 33:48 - Mozart's improvisations in Piano Concertos 35:39 - Levin's sensational performance at the 1989 Mozart Conference 36:27 - Did the attendees know that you were going to improvise? 39:21 - What has been the reaction by your peers to your improvising? 40:20 - Being the only improvising classical pianist for 25 years 41:48 - Being able to improvise in classical music is a completely different way of thinking 43:22 - There are many ways to do a cadence 43:59 - Do your professional peers, concert pianists, know figured bass? 44:38 - Improvisation as interpretation instead of playing notes 48:06 - What do you do when you see a repeat in a piano sonata? 50:10 - The element of risk has disappeared from classical music performance 53:31 - Did audiences during Mozart's time expect improvisation? 55:30 - HOT SEAT - Top 3 Piano Sonatas of Mozart 55:53 - HOT SEAT - Top 3 Piano Concertos of Mozart 56:36 - HOT SEAT - Top 3 Piano Sonatas of Beethoven 57:13 - HOT SEAT - Top 3 Symphonies of Mozart 58:06 - HOT SEAT - Proudest Musical Moment 58:58 - HOT SEAT - If you could meet Mozart, what would you talk about? 1:00:57 - Do you play Jazz? 1:01:37 - Who are your Top 3 Jazz Pianists?

Dê a sua opinião:Professor Douglas Filenga e Gabriela Batista apresentam nesta edição do Programa Nota Clássica: Carl Philipp Emanuel Bach O post Nota Clássica: C.P.E. Bach apareceu primeiro em Rádio e TV Federal no Ar.

Florlegium's artistic director Ashley Solomon joins Hannah French to profile the life and music of their fellow Baroque flautist and great 18th Century patron of the arts, Frederick the Great of Prussia. Ahead of Florilegium's forthcoming concert at Wigmore Hall, which uses James R. Gaines' novel "A night in the palace of reason" as its inspiration, Ashley will be choosing some of his favourite pieces connected with Emperor Frederick, by composers like CPE Bach and JJ Quantz.

Feast on these reflections on prayer set to a beautiful trio by CPE Bach. The voices you will hear are those of Robert Weston and Andrew Whettam.

Here is the "Impact Classics" episode from Thursday, June 28, 2018. Today's show features selections by Samuel Barber, Phantom of the Opera, CPE Bach, Miles Davis, and the Eastman Percussion Ensemble. As you will recall, we provide the very BEST music ever written and performed from all genres. We hope that that the presented music is perfect by which to write, relax, work, clean your house, pay bills, tend to your garden, driving, etc. "Impact Classics" airs LIVE as follows: Tuesdays and Thursdays 12:00 Noon, EDT (Repeated on the same days at 3:00 pm, 6:00 pm, 9:00 pm, and Midnight) Enjoy!

Hannah French looks at music celebrating the Feast of the Ascension through the eyes of father and son JS and CPE Bach.

Fine Music Radio — The Salon of Sara Levy. TRACK: Allegro from CPE Bach’s Double concerto for harpsichord, fortepiano and orchestra. ARTIST: Collegium Aureum. PUBLISHER: BMG Music 1995.

Ars Lyrica Houston performs music from their 2017 season opener: Sweet Philomena, with works by Handel, Mozart, CPE Bach, and more.

I programmet diskuteras Händels pastisch-opera Catone, verk av Ginastera med Juano Mena på pulten, klaverstycken av C P E Bach samt Bruckners sjätte symfoni i Haitinks version. Curt väljer Gieseking. I panelen Bodil Asketorp, Evert van Berkel och Tony Lundman som tillsammans med programledaren Johan Korssell betygsätter följande skivor:  ALBERTO GINASTERA Orkesterverk (vol 2) Xiayin Wang, piano Damröster ur Manchesters kammarkör BBCs filharmoniker Juanjo Mena, dirigent Chandos CHAN 10923 GEORG FRIEDRICH HÄNDEL Catone, opera-pastisch Sonia Prina, Riccardo Novaro, Kristina Hammarström m.fl Auser Musici Carlo Ipata, dirigent Glossa GCD 923511 CARL PHILIPP EMANUEL BACH Klaverstycken Aleksej Ljubimov, tangent-flygel ECM 2112 ANTON BRUCKNER Symfoni nr 6 A-dur Bayerska radions symfoniorkester Bernard Haitink, dirigent BR Klassik 900147 Referensen Johan jämför med och refererar till en inspelning av Bruckners sjätte symfoni med New Philharmonia Orchestra i London, allt under ledning av Otto Klemperer. Inspelningen gjordes 1964 på skivmärke EMI. Curts val Curt Carlsson spelar valda delar ur en box med 7 CD innehållande pianisten Walther Giesekings samtliga Bach-inspelningar på Deutsche Grammophon.  Andra i programmet nämnda eller rekommenderade inspelningar: Bruckners sjätte symfoni med New Philharmonia Orchestra, London ledd av Otto Klemperer på EMI (Referensen); Gewandhaus-orkestern med dirigenten Herbert Blomstedt på märket MDR; San Franciscos symfoniorkester ledd av Herbert Blomstedt på Decca samt med Saarländska radions symfoniorkester under Stanislav Skrowaczewski inspelad på Oehms Classics och Arte Nova Classics.  Svepet Johan sveper över en inspelning av Berlioz opera Trojanerna med bland andra Joyce DiDonato och Michael Spyres i de stora rollerna tillsammans med Strasbourgs filharmoniska kör och symfoniorkester allt under ledning av John Nelson. Utgiven på Erato.

I programmet diskuteras Weilersteins tolkning av Sjostakovitj, Sonya Yoncheva sjunger Händel, musik av CPE Bach samt Gidon Kremer med kolleger som spelar Rachmaninov. Amerikanskt tema I mindre skala. SERGEJ RACHMANINOV/KREISLER Preghiera, Trio élégiaque nr 2 d-moll Gidon Kremer, violin Giedré Dirvanauskaité, cello Daniil Trifonov, piano DGG 479 6979 DMITRI SJOSTAKOVITJ Cellokonserter nr 1-2 Alisa Weilerstein, cello Bayerska radions symfoniorkester Pablo Heras-Casado, dirigent Decca 483 0835 Referensen Johan refererar till och jämför med Sjostakovitjs första cellokonsert i en inspelning med Mstislav Rostropovitj tillsammans med Philadelphia-orkestern ledda av Eugène Ormándy och inspelad på Columbia/Sony Classical. GEORG FRIEDRICH HÄNDEL Arior Sonya Yoncheva, sopran Academia Montis Regalis Alessandro De Marchi, dirigent Sony 88985302982 CARL PHILIPP EMANUEL BACH Der Frühling Arior, Triosonata. Sinfonia m.fl. Rupert Charlesworth, tenor Café Zimmermann Alpha Classics ALPHA 257 I mindre skala Alexander Freudenthal och Johanna Paulsson jämför stort med smått eller tvärtom. Idag är temat Amerika. Andra i programmet nämnda eller rekommenderade inspelningar: Rachmaninovs Trio elégiaque i pianokonsert-version med pianisten Alan Kogosowski och Detroits symfoniorkester ledda av Neeme Järvi på skivmärke Chandos. Carl Philip Emanuel Bachs musik med Akademin för tidig musik, Berlin. Händelarior med Emma Kirkby på skivmärkena Decca och Bis. Sjostakovitjs cellokonserter med Truls Mörk och Oslos filharmoniker dirigerade av Vasily Petrenko på skivmärket Ondine; Truls Mörk med Londons filharmoniker under ledning av Mariss Jansons på Virgin Classics; cellisten Micha Maisky tillsammans med Londons symfoniorkester under Michael Tilson Thomas på DG samt Mstislav Rostropovitj och Tjeckiska filharmonin under Kirill Kondrasjin på Supraphon.  Svepet Den här veckan sveper Johan över två album; Beethovens tredje symfoni, Eroica med Londons filharmoniska orkester under Vladimir Jurowski på egna märket LPO samt över en live-inspelning från Gasteig, München med Mahlers nionde symfoni framförd av Bayerska radions symfoniorkester ledd av Mariss Jansons på märke BR Klassik.

Our November Recording of the Month features CPE Bach's three Cello Concertos. Nicolas Altstaedt is the brilliant soloist in these works, which are important links between the Baroque and Classical concerto and also brilliant pieces in their own right. The German-French cellist appears with Arcangelo and director Jonathan Cohen, and the disc is out on the Hyperion label. Join deputy editor Jeremy Pound and reviews editor Rebecca Franks for a discussion of the music and to hear clips from the recording. See acast.com/privacy for privacy and opt-out information.

Donald Macleod explores the life and music of Carl Philipp Emanuel Bach, the second son of Johann Sebastian

Scott Anderson, organ, performs works by Peeters, C.P.E. Bach, Gabrielli, Williams, and Gigout on May 9, 2015. This recital is presented in partial fulfillment of the requirements for the Doctor of Musical Arts degree for Anderson.

Scott Anderson, organ, performs works by Peeters, C.P.E. Bach, Gabrielli, Williams, and Gigout on May 9, 2015. This recital is presented in partial fulfillment of the requirements for the Doctor of Musical Arts degree for Anderson.

A special repeat of Catherine Bott's interview with the distinguished conductor, keyboardist and musicologist, Christopher Hogwood, who died earlier this year. Catherine chats to him about his career as one of the major proponents of the early music movement, including Christopher's early work with David Munrow in the Early Music Consort of London and the orchestra he founded in 1973 - The Academy of Ancient Music. The music on the programme comes from his choice of some of his own favourite recordings, including a work from Byrd's My Ladye Nevells Booke, vocal music by Purcell, a keyboard fantasia by CPE Bach and part of Handel's opera Rinaldo.

Our December cover CD features performances of music by CPE Bach by Rachel Podger and friends to mark the composer’s 300th anniversary. Hear clips and an introduction to the works from Jeremy Pound and Rosie Pentreath. See acast.com/privacy for privacy and opt-out information.

Piers Adams celebrates CPE Bach's 300th anniversary year with a visit to the city of Hamburg, where the 54-year-old Emanuel Bach began a new career as music director to the city's churches. Dutch keyboard player Pieter Jan Belder samples the vast collection of fortepianos and clavichords at the Museum of Decorative Arts, and there is a visit to the crypt of the Michaeliskirche where Emanuel Bach is buried. CPE Bach's three decades in Hamburg were the happiest and most productive of his career. He arrived there following many frustrating years at the Berlin court of Frederick the Great, who, he felt, never appreciated his talents. Emanuel took over the job previously occupied by his godfather Telemann in 1768, looking after the music of Hamburg's five main churches. He also found time to launch a series of subscription concerts, as well as leading a lively social life, as the English music historian Charles Burney noted when he paid him a visit. According to Burney, the best of CPE Bach's music is to be found in his keyboard works, and Pieter Jan Belder plays pieces written both for the new Hammerklavier, and for Emanuel's favourite instrument, the clavichord. Hamburg loved CPE Bach: one obituary praised his style as being so much superior to the 'kling-klang' of his contemporaries.

April 5, 2014. Paul Corneilson and Mark Knoll of the Packard Humanities Institute discuss the music of C.P.E. Bach, in commemoration of the composer's 300th birthday. Speaker Biography: Paul Corneilson is managing editor of "Carl Philipp Emanuel Bach: The Complete Works." Speaker Biography: Mark Knoll is managing editor of "Carl Philipp Emanuel Bach: The Complete Works." For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6411

April 4, 2014. Paul Corneilson and Mark Knoll of the Packard Humanities Institute discuss the music of C.P.E. Bach, in commemoration of the composer's 300th birthday. Speaker Biography: Paul Corneilson is managing editor of "Carl Philipp Emanuel Bach: The Complete Works." Speaker Biography: Mark Knoll is managing editor of "Carl Philipp Emanuel Bach: The Complete Works." For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6391

Piers Adams continues to celebrate CPE Bach's 300th anniversary year with a visit to Berlin's Charlottenburg Palace, where Emanuel Bach arrived as an optimistic 26 year old to join the court of Prussia's flute-playing King Frederick the Great. In a guided tour though the palace we hear how Emanuel Bach's adventurous musical style was not to the King's conservative tastes, and so he spent much of the next 28 years trying to leave the court - but not before he had established himself as Europe's most famous keyboard player and teacher. Emanuel also found a valuable friend in Frederick's sister Anna Amalia, herself an accomplished musician and also something of a court outcast, having secretly married and become pregnant against the King's wishes. We hear movements from CPE Bach's String Symphonies and from his Prussian Sonatas, from new recordings issued to celebrate the anniversary.

Piers Adams celebrates the 300th anniversary of the birth of CPE Bach with tracks from new CDs released to mark the occasion. There are also interviews with musicians in Leipzig, Hamburg and other cities around Bach's native Germany who reveal how they will be celebrating the year. In his time, CPE Bach was one of Europe's most famous and popular composers: a friend of English music scholar Charles Burney wrote to him in 1774, "I find the Carlophilipemanuelbachomania grow upon me so, that almost every thing else is insipid to me". He is now all but overshadowed by his more celebrated father, and so this anniversary year (he was born on 8th March 1714) is an opportunity to hear his music afresh. This is the first of three Early Music Show tributes to CPE Bach during this anniversary year.

With John Wilson. Naomie Harris talks about playing Winnie Mandela in the biopic Mandela: Long Walk to Freedom. Harris discusses taking on the part without realising the crucial role that Winnie Mandela played in forming the modern South Africa, researching her life and relationships and meeting Winnie Mandela herself. Nigella Lawson is one of three judges in new cookery show The Taste. Part Masterchef, part The Voice, the programme, which has already been a hit in America, involves judges eating just one anonymous spoonful of each dish, and judging on taste alone. Boyd Hilton discusses the increasing number of fusion TV formats. John talks to the Iranian-American harpsichordist Mahan Esfahani, who in 2011 gave the first solo harpsichord recital at the BBC Proms, and who is now releasing his debut CD featuring sonatas by CPE Bach, son of JS Bach. Front Row looks ahead to what 2014 may have in store in literature and art. Alex Clark discusses the books that are likely to make an impact this year and Rachel Campbell-Johnston previews the exhibitions to look forward to.

A keen flautist himself, Frederich II of Prussia also patronised and employed some of the finest composers of the age. In the week of the 300th anniversary of his birth, Lucie Skeaping explores the musicians of Frederick the Great's court, including music by Agricola, Quantz, CPE Bach, Fasch, Graun and Frederick himself.

Can you guess this piece? Here’s a hint: It’s all in the family

Donald Macleod explores the life and music of CPE Bach, and discovers that there is more to him than his famous name.

Live at Tottering-On-The-Brink © 2011 by Spider Robinson Music: Dori Legge, Claude Debussy, CPE Bach, Steve Reich, Tom Johnson, Colin MacDonald, Jacob ter Veldhuis.