Concerto in E flat Major for Harpsichord and Fortepiano, H 479 C.P.E. Bach

[@denisvolikov]

Fantastic piece! Full of joy and happiness. All orchestra soloists are perfect masters! Such a great combination of pianoforte and harpsihord. It sounds like past meets present.

[@notzack]

I can't believe the sparse views this has gotten. This really exemplifies historically informed performance. There is really good balance between the fortepiano and the harpsichord, which I find surprising - both the soloists must be superb players.

[@ArsLyricaHouston]

Zack, Thank you for this thoughtful comment. Ars Lyrica is so pleased to hear this from you.

[@duncanmckeown1292]

This is my absolute favourite work by C.P.E. It is a very late work, and the composer's farewell to his career, and the harpsichord, I would say! Some might say wildly eccentric, and prone to empty theatrics...but then I think this applies to much of his music. Nobody is going to claim that C.P.E. didn't have a distinct musical personality, that's fo sure! Extremely well performed.

[@cristiandavidalexanderarch1360]

Is there something similar but with a clavichord? This is a dream make true

[@ThiloAbend]

I fear not. and even if so, I would doubt that you would really enjoy it, because the clavichord is simply too soft in sound 😔 But maybe there will be a recording of this piece with a tangent piano instead of usual fortepiano? The sound of a tangent piano is quite unique and it spunds a little bit like a clavichord

[@TenorCantusFirmus]

This morning I have decided to listen to both Carter's and C.P.E. Bach's piano and harpsichord Concertos. This performance is fabolous, I didn't know this ensemble, but the sound is dry and lush at the same time and in the correct proportion as it should be for this kind of music.

[@ArsLyricaHouston]

Wonderful! So glad you found Ars Lyrica! Thank you for your comments.

[@ОлександрКрестін]

I think "dry" isn't good for any sort of music, especially for C.P.E.

[@0range2un]

Amazing performance! First time I listened this masterpiece from russian pianist A. Lyubimov, it was unbelievable. But your concert was superb too, thank you!

[@traviswilds7018]

This is a cool ass piece

[@sarea5721]

excellent! fantastic performance! a modern but period musical performance. My favorite part is the communication between ensemble and keyboard instruments. dynamic contrasts are adorable, layers are so clear, especially the flowing phrases catch my ears.

[@johnroblox5210]

For those of you saying they're playing in D major, they're not playing D major, they're playing in Eb major in baroque tuning.

[@valtergilenardi2639]

Splendido brano. Splendida esecuzione....Grazie mille!!! 🎼🎶 🎹🎹🎶🎹🎶❤❤❤

[@thethikboy]

Sparkly sparkly

[@lcaalbuquerque]

Wonderful! Bravo!

[@benedictcowell6547]

This work is a pivotal moment in the transition from Baroque to 'classical' and it ,manifests many the qualities of C.P.E but it is an interesting experiment but I cannot that it is either memorable, moving or especially compelling, as for example the same composer's Cello concerto in A. It deserves an outing rather more an excursion in to musical history.

[@Quatrapuntal]

This was written in 1788, the same year as Mozart's final symphony and after Don Giovanni - the transition happened a while before this roughly 1740-1770. This is more reminiscent of the early classical 'galant' style, similar to his younger brother Johann Christian.

[@benedictcowell6547]

Thank you, I had not realised, or perhaps not internalised, that it was written so late, and it is certainly erroneous on my part to attribute it to the late Baroque. These periods in music history are rather fluid. The same composer's first Cello concerto second movement would seem to be a much later work and perhaps both are testimony of the remarkable versatility and originality of the composer who seems to have been relegated to History rather than repertoire@@Quatrapuntal

[@parcivalg.5659]

Bellissimo!

[@MrLandale]

The last composition by C.P.E. Bach.

[@bauliardokkkksksksk1567]

CIAO ERA

[@gianlucamarcialis3595]

Is the adopted fortepiano a Silbermann's copy?

[@tobiasstudtheol]

No, Silbermann had the round end of a german harpsichord.

[@theera_can3111]

ciao nicco

[@notzack]

I have one question, since I am ignorant about this area of music performance: does the violone play with the basso continuo? It seems a bit unusual to me, since it's from a different instrument family than the rest of the strings. Would it be common performance practice to have the violone play along?

[@TenorCantusFirmus]

Nowadays' double bass is often classified in the viol (or "viole da gamba"), rather than in the violin ("viole da braccio"), family, so there's no problem in playing violone with instruments in the violin family. Also, in the "Classical" period (mid 18th to early 19th Century) 16-feet string basses weren't yet standardized, and in areas such as the Italian Peninsula the situation remained murky even well into the 19th Century, with Verdi having to insist and put a lot of pressure to have Opera orchestras to adopt the 4-string double bass (EE-AA-D-G) upon the then-more widespread 3-string (AA-D-G) one: many late 18th-Century "2nd deck" players still played the violone in DD, hence even the "Big 3" of the Viennese School (F.J.Haydn-W.A.Mozart-Beethoven) often still generically wrote for "bassi" ([stringed] "basses") on a single staff for both cellos and whatever 16' bass: to dabble with the confusing situation, they opted for keeping the door opened to all possible solutions at hand.

[@elaineblackhurst1509]

Zack Howie In Classical works by composers such as CPE Bach, Mozart and Haydn for example, the bass line would normally be played by a cello, a violone (ie double bass) and a bassoon; they normally followed exactly the same line. You will occasionally find all three instruments have separate or solo parts but normally, composers at this time wrote their music expecting all three instruments in the bass. Both Mozart and Haydn moved towards a second obbligato bassoon with an independent part, ie not ‘col basso’ or doubling the bass which was done by the other bassoon. A typical early-Classical bass would therefore consist of two or three cellos, a violone/double bass, and a bassoon. The addition of a harpsichord or other continuo instruments is a slightly different issue and was more about filling in the chords implied in the notation of Baroque and early Classical music; it is really not necessary in Mozart and Haydn but is useful and often essential in CPE’s music.

[@notzack]

@@elaineblackhurst1509 Thanks very much. I learned something today!

[@tikitak9132]

피아노포르테, 쳄발로 협주곡

[@johnmusiol6087]

In D major

[@mirco1piano]

E flat

[@stellanewton7656]

Baroque instruments are tuned lower, so you're not actually that much wrong

[@johnroblox5210]

Eb major in baroque tuning.

[@bauliardokkkksksksk1567]

Kong>Godzilla

[@MsSelvatica]

Recién ayer encontré ArsLyricalH. Extraordinario,