#CPE Bach??

[the-hurdy-gurdy-man]

title of recommended playlist: Classical classics

the playlist: mostly romantic era music

🤦‍♂️

[gasparodasalo]

Carl Philipp Emanuel Bach (1714-88) - Symphony in G-Major, H. 667, I. [without tempo indication]. Performed by Reinhard Goebel/Berliner Barock Solisten.

[osmiumpenguin]

Over the course of his life, J.S. Bach fathered 20 children, ten of whom survived into adulthood.

All ten of those adult children were musical, but four sons — W.F. Bach, C.P.E. Bach, J.C.F. Bach, and J.C. Bach — became famous composers in their own right.

Alas, having achieved such independent success, these famous sons would often hold themselves superior. They interacted only with each other at family gatherings, and emerged only to criticize whatever choices their siblings made.

The family eventually decided to humour their brothers by dedicating a space for complaints at the end of every family survey, just to get them out of the way early. And so, every time a poll went out over the Thurn & Taxis postal service, they were careful to leave a blank option at the bottom, reserved especially for the Cliquey Bachs.

[senfonikankara]

Klasik Dönem (1750 – 1810)

Baroğun o cafcaflı karmaşası yerini başta yalın bir doğallığa ardında da pırıl pırıl bir berraklığa bırakınca artık her şey değişmişti.

Yüksek Baroğun kendini en çok adamış temsilcilerinden Johann Sebastian Bach bile bu amansız değişim dalgası karşısında duramadı. Öyle ki birer seçkin besteci olan oğulları Carl Phillip Emanuel, Johann Christian ve Wilhelm Friedmann da bu yeni Klasik devrin canlandırıcı yapısal berraklığını benimsediler. Nasıl ki Barok besteciler en az malzemeyle bütün bir eseri inşa etmeye eğilimliydilerse Klasik devri de en iyi betimleyen, iki ya da daha çok karşıt düşüncenin çatışmasında filizlenen “sonat” biçimi oldu.  

Senfoni ve klasik konçerto türlerinin yükselişe geçmesi sonucunda yaylılar, ahşap ve bakır üflemeliler ile vurmalı çalgılardan oluşan bir orkestra ortaya çıktı. Oda müziği ise yaylı dörtlüsü ve piyano üçlüsü merkezinde gelişirken piyanonun ayırt edici özelliği olan çekiç mekanizması (oysa klavsende mekanizma telleri yalnızca çekip bırakıyordu) sayısız piyano sonatına ve bir yığın çeşitlemeye olanak tanıdı. Koro müziği alanında missa üstünlüğünü korurken opera hala salonların vazgeçilmeziydi.

Avrupa’yı kasıp kavuran devrim dalgasının müziğe de sıçramayacağından emin görünen aristokrasi, Haydn ve Mozart gibi son derece özgün dahilerin eserlerine sahip çıkmaya özen gösteriyordu. Ancak Napoleon fetih iştahıyla kollarını sıvadığında serbest çalışan ilk büyük besteciler, çığır açan devrimci Beethoven ve mest eden ezgilerin yaratıcısı Schubert ortaya çıkmıştı bile. Geniş bir yelpazeye hitap eden duygusallığı ve eşsiz bir çoşkunluğa sahip notaları ile klasizm bir uçurumun eşiğindeydi. Bundan böyle müzik hiç eskisi gibi olamayacaktı.

kaynak: sinfini music | çeviren: Okay Arık

[onenakedfarmer]

Currently Playing

Sebastian Knauer BACH AND SONS 2

Zürcher Kammerorchester

Johann Sebastian Bach Concerto for Harpsichord in A Major, BWV 1055 Concerto for Harpsichord in F minor, BWV 1056 Concerto for Flute, Violin, And Harpsichord in A minor, BWV 1044

Johann Christian Bach Concerto in F minor, WC 73

Carl Philipp Emanuel Bach Concerto for Keyboard in G Major, Wq 43/5

[musicollage]

Bach CPE + Fiati con Tasto — Wind Chamber Music. 1999 : Cpo.

[mozart-1053]

omg this cadenza

Cello Friday

Carl Philipp Emanuel Bach I. Allegro assai - Wq. 166, H. 431 Cello Concerto In A Minor Balazs Mate - Cello Concerto Armonico - Péter Szüts, cond.

[rueroyale]

Science and Art, a collection

Vladimir Nabokov, Drawings of the undersurfaces of Blues from the argyrognomon Bergstraesser 1779 and insularis Leech 1893 complexes (Berg Collection, NYPL)

J. S. Bach, Musical Offering, Ricercar à 6, performed by Alan Feinberg

Vladimir Nabokov, Excerpt from Speak, Memory, 1966

J. S. Bach, Manuscript of Ricercar à 6, 1747 (“6-stimmige Fuge, von J. S. Bach u. origineller Handschrift”)

Photograph of Vladimir Nabokov in 1947

Adolph Menzel, Detail of the Flute Concert of Frederick the Great at Sanssouci, 1852 (far left, C. H. Graun, ancestor of V. Nabokov; at the keyboard, C.P.E. Bach)

[wolfie-wolfgang]

I'm a Berliner now

[flutenby]

Gender is so weird, like I'm practicing in a dress rn and this piece feels so different in it, like I just want to play more femininely, whatever that means. But it means something!

[gasparodasalo]

Carl Philipp Emanuel Bach (1714-88) - Symphony No. 4 in G-Major, WQ 183/4, I. Allegro assai. Performed by Riccardo Minasi/Ensemble Resonanz.

[mikrokosmos]

J.S. Bach - Contrapunctus XIV from The Art of Fugue, BWV 1080

On this day 274 years ago, J.S. Bach passed away and his death was treated as the official end of an entire era. It is cliche to crown him the Best Composer of All Time, but it's hard not to be intimidated in his shadow for how influential he would become in the grand narrative of European music. And maybe it's Fate which brought me back into listening to a lot of Bach lately. At least my ears had been itching to revisit his great organ fugues, and different performances of the Well Tempered Clavier. So I thought I would commemorate his death day anniversary with the "last piece he ever wrote" (citation needed). The Art of Fugue is a collection of fugal exercises based on one theme, each fugue showing different potentials inherent in the theme. Like the WTC, this piece is more of a pedagogical work, originally not scored for any specific instruments so possibly written to be studied more than performed. But there's no reason why even a music theory exercise by Bach shouldn't be played for an audience, or by a musician for their own personal enjoyment.

The beautiful moment here is the last fugue in the set, Contrapunctus 14, which starts as a fugue on a completely different subject than the main theme that ties the rest of the pieces together. Instead, a solemn and contemplative fugue develops from this first theme, and in the middle a new subject emerges with shorter note values and moves forward quickly, bringing back the first subject and then develops as a double fugue. Then, another new subject comes in... so in German notation, they refer to the pitch B as H, and the pitch Bb is called B instead. I don't know why this is, but conveniently it allows Bach to sign his name in notes. But the motif Bb-A-C-B is chromatic and so close together, it doesn't sound like something that would work well for a baroque style fugue (at least, the later B-A-C-H pieces [i'm thinking by Liszt and Reger for example] are much more fitting for Romantic angst and drama). But Bach surprises us with his genius in writing a coherent and harmonically "correct"/"functioning" fugue around this complicated subject. And after the BACH fugue develops, the other two subjects join in and the piece re-introduces itself as a triple fugue.

Or at least, it promises to, but Bach stopped writing at this very moment. It is assumed that had he finished the work, he would have finally brought back the main fugue theme from the other contrupunctus pieces in the set and end with a developed quadruple fugue. And as someone who has tried and constantly failed at writing a decent sounding basic fugue for one subject, the dream of what could have been boggles my mind. Why did Bach stop? The score notes at the very end "While working on this fugue, which introduces the name BACH in the countersubject, the composer died." in CPE Bach's handwriting (one of Bach's many musically gifted sons, nicknamed "the Berlin Bach") but historians believe the manuscript is from a year or two earlier, before his deteriorating vision kept him from finishing. It's also a Romantic notion to imagine that Bach intentionally stopped there, letting the BACH fugue be his personal farewell to life, to composition, to music...a way to wrap up his lifelong work of trying to use difficult and contrapuntally dense music to reflect the glory of God and the intangible heavenly kingdom.

Whether he meant to or not, it's impossible not to feel this profound sense of farewell listening to this work trail off with the last threads hanging loose, as if such anticipated perfection of the quadruple fugue can only be heard in the life beyond our lives on earth. I first heard this piece in high school, and despite being young and naive and stupid in a lot of ways, the final unfinished fugue immediately hit my soul in a way nothing else had at that point, and I listened to it over and over, on piano, on organ, on guitar, as it was written along with different completions by other musicians or musicologists...

and I remember some question on some old web forum asking users "if the world was ending, what's the last song you'd want to hear". Of course I choose this one, and because of the question, any time I listen to Contrapunctus 14, I imagine myself as an astronaut, the last human alive, somehow detached from the ship and floating off into the cold and infinite abyss of the universe, listening to this piece as my oxygen runs out and I lose consciousness looking at the glittering stars, following the remains of the music into oblivion.

[supercantaloupe]

for the sleepover saturday ask thingie- do you have any favorite composers? I'm a big Chopin person and that's about it lmao so I'd love some recommendations. Orrrr if you have a favorite film score (or 10) I'd love to hear about that too!

i went to bed last night before i saw this sorry. anyway generally i am a big late classical/early (EARLY!) romantic kind of guy so i love the big names like haydn, mozart, beetovhen, schubert, and some smaller ones like pleyel, hummel, fiala, kalliwoda, cpe bach. rossini and donizetti were more opera composers than they were instrumental but i like them too (noted opera fan that i am). i do also really like baroque music, handel is probably my fave but i like vivaldi and telemann. js bach sometimes, he's not really my favorite though. i'm not as big a fan of the Romantics(tm) but i still like mendelssohn but that might be the neoclassicism talking lol. and then the late 19th century popped out some really great nongerman nationalist composers like tchaikovsky, pejacevic, sibelius, janacek, smetana, and dvorak (i have yet to encounter a work of dvorak's that i haven't liked). twentieth century saw so many great americans, russians, and brits like bernstein, holst, gershwin, copland, vaughan williams, grant still, stravinsky, prokofiev, rachmaninoff, shostakovich. i even like a lot of steve reich's stuff and Some of john adams' even though i'm not much of a minimalist/postminimalist guy. and i admit i don't know a lot of contemporary composers, but caroline shaw is one of the greats even though orchestral music isn't her thing. that's definitely a lot more than just some of my favorites but i do enjoy listening to them all

i don't think i have a top 10 for film scores but i definitely have a top 1 and that is how to train your dragon by my favorite film composer ever john powell! i swear any film that guy scores is immediately improved, including dogshit movies like ice age 4, he's That good at composing. httyd is a great film on its own that is then massively improved by having a phenomenal score so 👍👍👍 big fan

[ask meme]