Hebt an, ihr Chöre der Freude, H. 822a: 

1. I. Hebt an, ihr Chöre der Freuden
2. II. Heil mir! Ich höre meiner Söhne
3. III. Du Schöpfer meiner Freudenfeste
4. IV. Ich segne dich, Hammona
5. V. Entfleuch in deines Abgrunds Nächte
6.  VI. Nein, nein Hammona! Zweifle nicht
7.  VII. Wir sollten kalt und hoch vermessen das Mark
8.  VIII. Sollt ich meinem Gott nicht singen?
9.  IX. Auch mich, o Freundin!
10.  X. Hammona bleibet, auch allein
11.  XI. Ich seh's, du liebst mich noch
12.  XII. Höre von der Wälle Höhn
13.  XIII. Du Glückliche! Hier soll mich deine Liebe
14.  XIV. Zertrümmerte Städte! Verödete Fluren!
15.  XV. Auch unsre Thräne rinnt
16.  XVI. Du Gott der Stärke! Hamburgs Gott!

Der Trommeln Schlag, der Pfeifen Spiel, H. 822b:

17.  I. Der Trommeln Schlag, der Pfeifen Spiel
18.  II. Empfanget mich, ihr edlen Patrioten
19.  III. Holde Freude! Komm, und kröne
20.  IVa. Herein! Was zaudert ihr?
21.  IVb. Ja! Fühlen soll sie's
22.  V. Ich folge dir; du warst stets mein Getreuer
23.  VI. Mein Rasen war, wie einer Sündfluth Rasen
24.  VII. Wer seid ihr Kühne!
25.  VIII. Kränzt den festlichen Pokal

Barockwerk Hamburg
Ira Hochman – director

Carl Philipp Emanuel Bach (1714-1788) was the fifth child of great composer Johann Sebastian Bach. He was an important composer in the transitional time between the Baroque and Classical periods. These pieces were composed by CPE Bach for the annual meeting of the Captains of the Hamburg Citizens Guard. Composing for this meeting was an honor, and only the most sought-after composers were commissioned. Each year the commissioned composer would compose an oratorio and a cantata. Here, we have CPE Bach’s Oratorio Hebt an, ihr Chore der Freuden, and his Serenata Der Trommeln Schlag, der Pfeifen Spiel. --- arkivmusic.com

Carl Philipp Emanuel Bach held the most important and influential church musician’s post in Hamburg, with responsibilities comparable to those of his father at the Church of St. Thomas in Leipzig. He wrote his Hamburger Bürgerkapitänsmusik in 1780 for the annual festive gathering of the captains of Hamburg’s civic guard. Trumpets and timpani and allegorical figures including virtues and vices are employed to contrast war and peace. --- europadisc.co.uk

The second surviving son of J.S. Bach, Carl Philipp Emanuel was the most innovative and idiosyncratic member of an extremely talented musical family. His music, unlike that of his father or that of the master he influenced, Haydn, did not define an era so much as reveal a deeply personal response to the musical conventions of his time.C.P.E. Bach could play his father's technically demanding keyboard pieces at sight by the time he was seven. Also an exceptional student in areas other than music, he enrolled at the University of Leipzig in 1731 to study law, then transferred to the University of Frankfurt an der Oder. He graduated in 1734, but remained in that backwater town giving keyboard lessons, involving himself in public concerts, and learning the composer's craft.

By 1740 Bach was in Berlin as harpsichordist to Frederick the Great of Prussia. Here he was first exposed to Italian opera seria, and its dramatic style infiltrated his instrumental music. Little of this was heard at court, where Bach accompanied the flutist-king in one reactionary concerto after another by Quantz. He made several attempts to find a new position, but the stress of the king's disfavor was partially relieved in 1756, when Frederick became distracted by the Seven Years' War and was frequently away from the court. Bach found a select audience for his remarkable and experimental series of keyboard works such as the so-called Prussian and Wurttemberg sonatas (composed in the early 1740s) and the Sonatas with Varied Repeats (1760).

Bach finally got himself released from Frederick's service in 1768 in order to succeed Telemann as cantor at the Johanneum in Hamburg, also serving as music director for the city's five major churches; he held this post until his death.

Stylistically distant from his father's rigorous polyphony, C.P.E. Bach was something of a proto-Romantic; he was the master of Empfindsamkeit, or intimate expressiveness. The dark, dramatic, improvisation-like passages that appear in some of Mozart's and Haydn's works are due in part to his influence; his music in time became known all over Europe. His impulsive works for solo keyboard, which lurch into unexpected keys, change tempo and dynamics abruptly, and fly along with wide-ranging themes, are especially compelling. One account of Bach's after-dinner improvisations described the sweaty, glazed-eyed musician as possessed, an adjective that would be applied to equally intense and idiosyncratic musicians in the Romantic age. Many of his symphonies are as audacious as his keyboard pieces.

In the area of chamber music, Bach pulled the keyboard out of its subsidiary Baroque role and made it a full partner with, or even leader of, the other instruments. Yet here he fashioned the music to the public's conservative expectations, as he did with his church music. He composed prolifically in many genres, and much of his work awaits public rediscovery.

Bach also produced an important account of performance practice in the second half of the eighteenth century, translated into English as Essay on the True Art of Playing Keyboard Instruments. ---James Reel, Rovi

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01. C. P. E. Bach : Quartet in D Major, Wq 94 (1788) for flute, viola, cello, fortepiano : Allegretto    [0:05:14.69]
02. Sehr langsam and ausgehalten    [0:04:36.37]
03. Allegro di molto    [0:04:55.86]
04. Larghetto from sonata in G Minor, Wq 88 (1759) for viola da gamba and harpsichord    [0:06:19.42]
05. Sonata in C minor, 'Sanguineus and Melancholicus' Wq 161.4 (1749) : Allegretto - Presto    [0:05:02.44]
06. Adagio    [0:04:00.73]
07. Allegro    [0:06:30.42]
08. Sonata in A minor, Wq 134 (1747) for solo flute : Poco Adagio    [0:04:14.80]
09. Allegro    [0:03:19.24]
10. Allegro    [0:02:59.86]
11. Trio Sonata in C Major, Wq 147 (1731) for flute, violin, cello and harpsichord : Allegro    [0:03:59.33]
12. Adagio    [0:05:08.82]
13. Allegro    [0:05:31.40]
14. Telemann : Allegro from Quadro in G Minor    [0:01:54.86]
15. Boismortier : Allegro from Sonata in G Minor, Op. 34    [0:01:16.10]
16. Vivaldi : Allegro from Concerto in G Minor, RV 107    [0:02:12.56]
17. J.S. Bach : La Joye from Ouverture in  D Major    [0:01:13.40]

Florilegium:
Ashley Solomon - Flute
Rachel Podger, Lucy Russell - Violins
Daniel Yeadon - Cello
Neal Pres da Costa - Harpsichord, Fortepiano

More than half a century separates the earliest and the latest of the works here. The C major Trio Sonata was one of Bach's earliest compositions, written at the age of 17 more or less under his father's supervision, and the D major Quartet was composed in the last year of his life, while he was Music Director in Hamburg. The remaining items date from his time at the court of Frederick the Great. The C minor Sonata is extraordinary, a programmatic work 'portraying a conversation between a Sanguineus and a Melancholicus' who disagree throughout the first two movements, but the former's outlook prevails in the finale. The talented Florilegium players bring out to the full the bewilderingly diverse character of this sonata.

If the Sonata for unaccompanied flute was written for Frederick, as seems likely, he must have been quite skilled, able to cope with some virtuoso passagework. Ashley Solomon's performance is most persuasive. How far Carl Philipp developed is shown by the late quartet, an attractive composition which, besides promoting the keyboard (fortepiano here) from a mere continuo to prominent solo status, is already in the style of the Viennese classics in form, and links the first two movements. The whole disc is strongly recommended. ---Gramophone Classical Music Guide, prestoclassical.co.uk

The Trio Sonata in C minor 'Sanguineus and Melancholicus' composed in 1749, is an attempt to show that instrumental music could have a meaning outside itself. Eighteenth-century aesthetic theory was rational, and music—especially instrumental music—was generally undervalued because it could not be translated into words. Bach set out to show that music could represent a dialogue, not just a single emotional state. For those who could not understand the language of music, he offered a translation. This may seem like an admission that his meaning is not as clear as he intended. In fact, without his clues, his general drift is clear; but the detailed programme includes a certain amount of amplification which the listener could supply only from his imagination.

In this work, the violins represent two of the four basic psychological types which had dominated medical theory since the ancient Greeks. Melancholy has retained its original meaning; the sanguinary man has a predominance of blood in his make-up which makes him ruddy-faced, courageous, hopeful and amorous.

The narrative of the first movement can be outlined as follows: Melancholicus makes the first statement in duple time, Allegretto and muted. The dominant half-close means that Sanguineus is asked whether he agrees with Melancholicus. The former, unmuted, makes it clear by a change of time (to a triple Presto) and key (from C minor to E flat major) that his opinion is different. Sanguineus soon deliberately moderates his jollity in an attempt to persuade Melancholicus, also ending with a question indicated by a dominant close. A brief pause is intended to give him time to cheer up the other. But Melancholicus relapses into his former mood. Sanguineus impatiently replies, restating his case, and breaks off with an invitation to the other to complete the phrase. But instead he interpolates a continuation of his own argument. Sanguineus is not sure whether Melancholicus is acting from malice, ignorance or forgetfulness; so, with some bitterness, since he has resisted persuasion twice, he shows him how the phrase should have continued. Melancholicus begins to relent, and makes a correct answer. But this difficult though small step (of only six notes) forces him into another pause to recover; then he returns to his original theme again. Sanguineus mocks him by comically imitating his thoughts, converting them to his rhythm. Here Melancholicus takes off the mute and follows the other, and they play together an extended section based on the Sanguineus subject. There is a pause; Sanguineus expects the other to lead, but he puts on his mute and reverts to his original topic, again ending with a question. Sanguineus replies with a contrary answer, but Melancholicus answers his question with a snippet of his own hypothesis. Sanguineus angrily mimics it, expanding the compact phrase to span an octave. After a pause he starts again, and Melancholicus continues correctly for a few notes then slips again into his melancholy. Here Sanguineus, following the previous success of the method, plays on Melancholicus’ sense of honour to win him over and scoffs at his ideas. He invites him again and Melancholicus follows him, without mute. But the same thought which has already distracted him brings back his melancholy. Sanguineus quickly draws him out of it. There is a section in which the players move together. Sanguineus has lost some of his fervour. But his flattery of Melancholicus gives rise to renewed melancholy. Sanguineus laughs at this. They alternate until Melancholicus falls into a deep sleep. Sanguineus continues to make fun of him, but stops twice to listen whether there is a reply and hears nothing. The first movement ends here; despite its programme, it has a coherent form, ABABA (though tonally more complex than that). The dialogue is confined to the A sections, which are considerably shorter than the time taken to describe them might suggest.

The second movement follows without a break, Melancholicus again playing muted. He starts mumbling to himself; Sanguineus replies frivolously. They continue, playing contrasting themes until (at the end of the movement) Sanguineus asks the other to join him. Getting nowhere, he asks him strongly (one single note); meeting only silence, he asks again more politely. Melancholicus, having removed his mute, lets himself be moved, and indicates his change of mind by imitating a six-note phrase of Sanguineus. Sanguineus continues it, Melancholicus repeats it to show his steadfastness, then both conclude the Adagio in unanimity. This unanimity remains throughout the Allegro; since Sanguineus has won the argument, he politely lets Melancholicus begin, and the two instruments converse in a friendly manner. ---Clifford Bartlett, hyperion-records.co.uk

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Sinfonia In G Major, Wq. 182, No. 1 
1 	Allegro Di Molto 	3:41
2 	Poco Adagio 	3:23
3 	Presto 	4:09
Sinfonia In B Flat Major, Wq. 182, No. 2 
4 	Allegro Di Molto 	3:32
5 	Poco Adagio 	3:18
6 	Presto 	5:12
Sinfonia In C Major, Wq. 182, No. 3 
7 	Allegro Assai 	2:55
8 	Adagio 	3:12
9 	Allegretto 	5:34
Sinfonia In A Major, Wq. 182, No. 4 
10 	Allegro Ma Non Troppo 	4:20
11 	Largo Ed Innocentamente 	3:55
12 	Allegro Assai 	4:28
Sinfonia In B Minor, Wq. 182, No. 5 
13 	Allegretto 	4:29
14 	Larghetto 	2:24
15 	Presto 	4:07
Sinfonia In E Major, Wq. 182, No. 6 
16 	Allegro Di Molto 	2:25
17 	Poco Andante 	3:33
18 	Allegro Spirituoso 	3:43

Capella Istropolitana
Christian Benda – conductor

CPE Bach wrote a set of six string symphonies, Wq. 182, for Baron van Swieten
— diplomat, Court Librarian in Vienna.

Even though C. P. E. Bach was highly influential and counted among his admirers Haydn and Beethoven (not too slouchy!), his symphonies represent a kind of musical dead end. No composer after him followed his lead in producing what he thought of as music of "affect," but which I would rather think of as music of wit. But Bach's wit is not the genial, tongue-in-cheek wit of a Haydn; it's more the wit of the Metaphysical poets. Bach's language is one of strange and unexpected harmonies and melodic turns. In fact, as music critics have pointed out, he is the most adventurous composer harmonically before Schubert.

And Bach's strangest, most striking music comes in these Hamburg Symphonies and the four so-called Orchestral Symphonies Wq 183. Unlike the later symphonies, however, the Wq 182 symphonies are scored not for winds and strings but for strings alone. In a way, this seems to enhance the lightening-quick play of wit, and I admire both sets almost equally.

In this Naxos recording, everything seems to go right. The orchestra is highly responsive, zipping along with glee or exploring the melancholy music of Bach's slow movements with equal success. Christian Benda, a descendant of the 18th-century Czech composer Jiri Benda, is a fine conductor who understands the music of this period well. Add to the package a clear, resonant recording, and this is a find for lovers of the pre-Classical era. ---amazon.com

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01 Leite Mich Nach Deinem Willen H 835 (Chorus)
02 Choral- Herr Gott Du Bist Unsere Zuflucht
03 Recitativo- Unwandelbarer
04 Aria- Unwandelbar Welch Ein Gedanke
05 Recitativo And Choro- Um Dich Ist Ewings Licht
06 Aria- Wenn Einst Vor Deinem Schelten
07 Choral- Du Bleibest Ewiglich
08 Recitativo- Ja Zage Nicht Dem Nahen Grab Entgegen
09 Aria- Schon Hor Ich Die Posaune Schallen
10 Choral- Springt Ihr Grabesfesseln Springt
11 Recitativo- Erhohter Menschensohn
12 Aria- Seht Gottes Klarheit Fullt Sein Haus
13 Accompagnato- Einst Traurtet Ihr
14 Aria- Zeige Dich Der Herde Blicke
15 Choral- Gott Der Du Deines Volks Gedenkest
16 Mein Heiland Meine Zuversicht H 830 (Chorus)
17 Choro- Der Herr Lebet Und Gelobet Sei Mein Hort
18 Recitativo- Von Deinen Wundern Rings Umgeben
19 Aria- Erhebe Dich In Lauter Jubelchoren
20 Recitativo- Allein - Was Warst Du
21 Aria- Umsonst Empore N Sich Die Spotter
22 Recitativo- Gesegnet Sei Uns Denn Der Mann
23 Aria- Ruhe Sanft Verklarter Lehrer
24 Recitativo And Choral- Dann Wollen Wir
25 Recitativo- Die Frohe Hoffnung Hemme Deine Klage
26 Choral- Es Danke Gott Und Lobe Dich
27 Aria- Dein Wort O Herr
28 Recitativo- Wer Dieses Helle Licht
29 Aria- Das Wort Des Hochsten Starkt
30 Choral- Herr Unser Hort
31 Recitativo And Accompagnato- Lab Uns Dies Wort
32 Aria- Nun So Tritt Mit Heiterm Sinn
33 Choral- Lob Ehr Und Presis Sei Gott
34 Amen Lob Und Preis Und Starke H 834 (Chorus)

Himlische Cantorey
Les Amis de Philippe
Ludger Rémy

The music on this disc dates from the 1780s, late in C.P.E. Bach's career, when he was the music director for the city of Hamburg. While Mozart was wrangling with archbishops and nobles, and soaking up the revolutionary winds blowing from France, these pieces were written for the most old-fashioned kind of event imaginable -- ceremonies marking the inductions of prominent individuals to the Lutheran ministry. The odd but rather deep liner notes (you know you're dealing with a German recording when you pick up the notes and read something like "Nevertheless, the contradiction between subjective and objective consideration remains") provide a good deal of the works' reception history, and one learns that a generation after they were written, they were already being condemned as insignificant relics of an older way of doing things. Many listeners will reach the same conclusion; Bach's festival cantatas are uneasy mixtures of chorales and operatic arias, with rather pompous passages of trumpets and drums that don't mesh with the more melodic materials, all tied to religious texts that, like some of those promulgated today, seem to protest too much.

Yet a certain kind of philosophically oriented listener will be intrigued. What happens when geniuses take comfortable, well-paid positions far from the latest developments? Why do young musicians move to New York, or Los Angeles, or Atlanta, or Nashville, instead of attempting to make great music in Wichita, or Scranton, or Sioux Falls? Conductor Ludger Rémy (check out the photo of him, with cigarette, on the back of the booklet!), with his Himlische Cantorey small choir and Les Amis de Philippe orchestra, try to divorce the music from any historical considerations and give us an "objective" look. And, of course, one can find the unique and daring expressive personality of C.P.E. Bach here if one looks for it; the sequence of musical events is quite imaginative, and, as with a lot of C.P.E. Bach, the two cantatas here (framed by single choruses with similar purposes) sound unlike any other music of their time. The boxy sound of this recording is wrong; this was music performed in big Hamburg churches, and it needed to sound resplendent, or at least imposing. However, libraries should collect this very unusual and quite thought-provoking disc, and anyone who has pondered the relationship between music and the historical currents in which it flows may want to hear it as well. ---James Manheim, AMG

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Magnificat, Wq 215
1. Chor. Magnificat anima mea Dominum 2:54
2. Arie. Quia respexit humilitatem 5:32
3. Arie. Quia fecit mihi magna 3:59
4. Chor. Et misericordia eius 3:59
5. Arie. Fecit potentiam in bracchio suo 3:37
6. Duett. Deposuit potentes de sede 5:52
7. Arie. Suscepit Israel puerum suum 4:43
8. Chor. Gloria Patri et Filio 1:49
9. Chor. Sicut erat in principio 5:27

Heilig ist Gott, Wq 217
1. Ariette. Herr, wert, daß Scharen der Engel 1:44
2. Chor der Engel und Völker. Heilig, heilig, heilig ist Gott 6:08

Sinfonie in D major, Wq 183/1
1. Allegro di molto 5:47
2. Largo 1:34
3. Presto 2:51

Berlin RIAS Chamber Choir
Hans-Christoph Rademann - director

The rather random trio of pieces on this release by Germany's RIAS Kammerchor and Akademie für alte Musik Berlin has an explanation: all were drawn from the program of a concert C.P.E. Bach presented in Hamburg in 1786 to benefit a group of doctors who treated poor patients without charge. The concert was meant to be a sort of survey of Bach's own career and the course of music in the 18th century in general; its first half covered J.S. Bach and Handel's Messiah, while the second part was devoted to C.P.E. himself and included the three works here, coming from the beginning, middle, and end of Bach's career (he died two years later). The big Magnificat, Wq 215, was C.P.E. Bach's first major choral work, composed in 1749. It lies somewhere between J.S. Bach and Vivaldi (in the arias), and it seems designed to show off the young composer's contrapuntal masters; at the time, the younger Bach hoped to succeed his father at the Thomaskirche in Leipzig. The work certainly does that, with an impressive final fugue (track 9), even if there's little about it that you remember when it's over. Still more imposing are the aria and chorus Heilig ist Gott, Wq 217, which was a celebrated work in its time but is nowadays rarely performed. None of the works on the album uses C.P.E.'s trademark chromaticism, and in this motet he specifically claimed to be trying to create vivid effects with diatonic harmonies. The only work that is at all unconventional is the late Symphony in D major, Wq 183/1, and there the distinctive Bach experimental touches lie in rhythm and especially instrumentation (the winds lead an existence largely independent from that of the strings) rather than in harmony. These aren't really characteristic Bach works, but apparently the composer himself thought that they were. For that reason, and for the clean singing of the RIAS Kammerchor, this is certainly worth the time of those interested in J.S. Bach's second son. ---James Manheim, Rovi

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1. [Erster Teil] Einleitung
2. Chorus: Gott du wirst
3. Recitative: Judaa zittert
4. Aria: Mein Geist voll Furcht und Freuden
5. Chorus: Triumph! Triumph!
6. Recitative: Die frommen Tochter
7. Aria: Wie bang hat dich mein Lied beweint
8. Recitative: Wer ist die Sionitin
9. Duet: Vater deiner schwachen Kinder
10. Recitative: Freundinnen Jesu
11. Aria: Ich folge dir
12. Chorus: Tod! Wo ist dein Stachel?
13. [Zweiter Teil] Einleitung
14. Recitative: Dort seh' ich aus den Toren Jerusalems
15. Aria: Willkommen, Heiland
16. Chorus: Triumph! Triumph!
17. Recitative: Elf auserwahlte Junger
18. Aria: Mein Herr, mein Gott
19. Chorus: Triumph! Triumph!
20. Recitative: Auf einem Hugel
21. Aria: Ihr Tore Gottes
22. Chorus: Gott fahret auf mit Jauchzen

Uta Schwabe: soprano
Christoph Genz: tenor
Stephan Genz: bass

La Petite Bande
Sigiswald Kuijken – director
Ex Tempore

After enduring almost 30 years at the court of Frederick the Great in Berlin as an underling, Carl Philipp Emanuel Bach, the most inspired of JS Bach's sons, succeeded his godfather, Telemann, as director of music in Hamburg. There he took on a new life, writing not only highly original symphonies and concertos, but three superb oratorios, of which this is the last and, as he thought himself, the finest - given a masterly performance here under Sigiswald Kuijken.

The 22 sections present the Resurrection and Ascension of Jesus in a vigorously dramatic way. So the opening recitative is punctuated by violent timpani, and the theme of triumph recurs in a powerful chorus, while the baritone soloist echoes that theme in one of his brilliant arias.

Striking obbligatos for high baroque trumpet, horn and bassoon colour the arias, while the work's centrepiece is an ecstatic lyrical duet, a plea for forgiveness, with soprano and tenor lines interweaving in heavenly harmony. ---Edward Greenfield, guardian.co.uk

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Sinfonia pour deux violons, alto et basse en Do Majeur, WQ 182/3;
1. I. Allegro Assai
2. II. Adagio
3. III. Allegretto
Sinfonia pour deux violons, alto et basse en Si Mineur, WQ 182/5;
4. I. Allegretto
5. II. Larghetto
6. III. Presto
Concerto pour violoncelle, avec deux violons, alto et basse en La Majeur, WQ 172;
7. I. Allegro
8. II. Largo
9. III. Allegro Assai
Sinfonia pour deux violons, alto et basse en Mi Majeur, WQ 182/6;
10. I. Allegro di molto
11. II. Poco andante
12. III. Allegro spirituoso
Sinfonia pour deux violons, alto et basse en Sol Majeur, WQ 182/1;
13. I. Allegro di molto
14. II. Poco adagio
15. III. Presto

Musicians:

Pablo Valetti, violon & konzertmeister
David Plantier, violons
Fabrizio Zanella, violons
Farran James, violons
Nick Robinson, violons
Helena Zemanova, violons
Juan Roque Alsina, violons
Laura Johnson, violons
Patricia Gagnon, altos
Diane Chmela, altos
Petr Skalka, violoncelle solo
Dmitri Dichtiar, violoncelles
Etienne Mangot, violoncelles
Ludek Brany, contrebasse
Celine Frisch, clavecin

Carl Philipp Emanuel Bach (1714-1788) - more commonly known as C.P.E. Bach - was a German musician and composer of the early Classical period.

The second of eleven sons of Johann Sebastian Bach and Maria Barbara Bach, C.P.E. Bach was born in Weimar on 8th March 1714. He was one of the founders of the Classical style, composing in the rococo and classical periods.

Through the latter half of the eighteenth century, his reputation was very high. This was mainly because of his clavier sonatas, which marked an important development in the history of musical form. Lucid in style, delicate and tender in expression, they are even more notable for the freedom and variety of their structural design; they break away altogether from the exact formal antithesis which, with the composers of the italian school, had hardened into convention, and substitute the wider and more flexible outline which the great viennese masters showed to be capable of almost infinite development. ---last.fm

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01. 	Trio Sonata in D Minor, Wq. 145 : I. Allegretto 	5:22 	
02. 	Trio Sonata in D Minor, Wq. 145 : II. Largo 	4:04 	
03. 	Trio Sonata in D Minor, Wq. 145 : III. Allegro 	4:53 	
04. 	Trio Sonata in G Major, Wq. 144 : I. Adagio 	4:51 	
05. 	Trio Sonata in G Major, Wq. 144 : II. Allegro 	4:16 	
06. 	Trio Sonata in G Major, Wq. 144 : III. Presto 	4:08 	
07. 	Trio Sonata in C Major, Wq. 147 : I. Allegro 	3:54 	
08. 	Trio Sonata in C Major, Wq. 147 : II. Adagio 	5:00 	
09. 	Trio Sonata in C Major, Wq. 147 : III. Allegro 	4:01 	
10. 	Trio Sonata in D Major, Wq 151 : I. Allegro 	5:02 	
11. 	Trio Sonata in D Major, Wq 151 : II. Largo 	5:22 	
12. 	Trio Sonata in D Major, Wq 151 : III. Allegro 	3:59

Merlin Ensemble:
Renate Greiss, Flöte 
Ingo Goritzki, Oboe
Marcio Carneiro, Violoncello 
Raimund Adamsky, Bass
Hans Joachim Erhard, Cembalo

The second son of the great Johann Sebastian Bach by his first wife, CPE Bach was recognised as one of the greatest harpsichordists of his time. After study at university, a privilege denied his father, he became harpsichordist to the Crown Prince of Prussia, later Frederick the Great, and left his service in 1767 after the death of his godfather Telemann, whom he succeeded as director of music of the five city churches of Hamburg. He was greatly respected both as a composer and as a friend of some of the most distinguished writers and thinkers of his time. In 1755 he published his influential Essay on the True Art of Playing Keyboard Instruments. From his very considerable output his sonatas for flute and harpsichord remain an attractive part of chamber-music repertoire, and his symphonies written for Baron van Swieten, arbiter elegantium in Vienna, a man whose taste was generally trusted in artistic matters, are similarly notable. Music by CPE Bach is often listed with a reference number from the catalogue of his works by Wotquenne (Wq). ---naxos.com

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1. Son in D, Wq.137: Adagio Ma Non Tanto
2. Son in D, Wq.137: Allegro Di Molto
3. Son in D, Wq.137: Arioso
4. Wurttembergische Son No.1 in a, Wq.49/1: Moderato
5. Wurttembergische Son No.1 in a, Wq.49/1: Andante		play
6. Wurttembergische Son No.1 in a, Wq.49/1: Allegro Assai
7. Son in C, Wq.136: Andante
8. Son in C, Wq.136: Allegretto
9. Son in C, Wq.136: Arioso
10. Preussische Son No.3 in E, Wq.48/3: Poco Allegro		play
11. Preussische Son No.3 in E, Wq.48/3: Adagio
12. Preussische Son No.3 in E, Wq.48/3: Presto
13. Son in g, Wq.88: Allegro Moderato
14. Son in g, Wq.88: Larghetto
15. Son in g, Wq.88: Allegro Assai

London Baroque
Charles Medlam, viole de gambe
William Hunt, viole de gambe (continuo)
Richard Egarr, clavecin

Carl Philipp Emanuel Bach (8 March 1714 – 14 December 1788) was a German classical period musician and composer, the fifth child and second (surviving) son of Johann Sebastian Bach and Maria Barbara Bach. His second name was given in honor of his godfather Georg Philipp Telemann, a friend of Emanuel's father.

Emanuel Bach was an influential composer working at a time of transition between his father's baroque style and the classical and romantic styles that followed it. His personal approach, an expressive and often turbulent one known as Empfindsamer or 'sensitive style', applied the principles of rhetoric and drama to musical structures. Bach's dynamism stands in deliberate contrast to the more mannered rococo style also then in vogue.

Through the later half of the 18th century, the reputation of Emanuel Bach stood very high. Wolfgang Amadeus Mozart said of him, "He is the father, we are the children."[7] The best part of Joseph Haydn's training was derived from a study of his work. Ludwig van Beethoven expressed for his genius the most cordial admiration and regard.[citation needed] His keyboard sonatas, for example, mark an important epoch in the history of musical form. Lucid in style, delicate and tender in expression, they are even more notable for the freedom and variety of their structural design; they break away altogether from both the Italian and the Viennese schools, moving instead toward the cyclical and improvisatory forms that would become common several generations later.

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Vol.1
1. Concerto In G Dur, Wq 169, H. 445: I. Allegro di molto	11:17
2. Concerto In G Dur, Wq 169, H. 445: II. Largo	7:54
3. Concerto In G Dur, Wq 169, H. 445: III. Presto	5:38
4. Concerto In B Dur, Wq 167, H. 435: I. Allegretto	8:19
5. Concerto In B Dur, Wq 167, H. 435: II. Adagio	8:08
6. Concerto In B Dur, Wq 167, H. 435: III. Allegro assai	6:11
7. Concerto In D Moll, Wq 22, H. 425: I. Allegro	7:29
8. Concerto In D Moll, Wq 22, H. 425: II. Un poco andante	8:18
9. Concerto In D Moll, Wq 22, H. 425: III. Allegro di molto	6:57

Vol.2
1. Concerto In A Moll, Wq 166: I. Allegro Assai	9:04
2. Concerto In A Moll, Wq 166: II. Andante	8:07
3. Concerto In A Moll, Wq 166: III. Allegro Assai	  6:58
4. Concerto In D Dur, Wq 13: I. Allegro	6:50
5. Concerto In D Dur, Wq 13: II. Un Poco Andante E Piano	7:54
6. Concerto In D Dur, Wq 13: III. Allegro Assai	4:47	
7. Concerto In A Dur, Wq 168: I. Allegro	  6:40	
8. Concerto In A Dur, Wq 168: II. Largo Con Sordini, Mesto	8:38
9. Concerto In A Dur, Wq 168: III. Allegro Assai		5:19

Arte dei Suonatori :
Aureliusz Golinski, Marta Mamulska, Yannis Roger, Judith Steenbrink : violons I
Ewa Golinska, Martyna Pastuszka, Joanna Huszcza, Adam Pastuszka : violons II
Dymitr Olszewski, Bodo Lonartz : alti
Tom Pitt (continuo : Wq 169 & Wq 167), Bas
van Hengel (continuo : Wq 22) : violoncelles
Stanislaw Smolka : contrebasse
Joanna Boslak-Gorniok : clavecin

Alexis Kossenko, flûte & direction

Carl Philipp Emanuel Bach was appointed 'principal harpsichordist' at the court of Frederick II of Prussia. The flute was constantly present in the three hundred or so works he composed in Berlin between 1741 and 1767. Almost all the concertos he composed exist in three versions: for flute, for harpsichord and for strings. Undoubtedly, these works are unique in the history of the instrument: they anticipate the Sturm und Drang movement and open wide the doors to Romanticism.

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