Wilhelm Friedemann Bach: Concerto in E minor for Keyboard, Strings & B.c Fk.43 BR C 12

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Күн бұрын

Пікірлер: 19

@AnnaBohemianBaroque 6 ай бұрын

He is my Bach! The most enigmatic of the sons.

@stefanstamenic3640 6 ай бұрын

Bellissimo! From the sons of J.S.Bach - Wilhelm Friedemann Bach, understood his father's music best of all.

@marikomariko3992 6 ай бұрын

Exquisite sound of fortepiano. I love the flow in Allegretto. 💖

@AnnaBohemianBaroque 6 ай бұрын

Oh, and Mr von der Goltz just happens to be MY violinist. Nice!

@paulwusteman9963 6 ай бұрын

Yet another gorgeous 18th C British portrait. The music is nice as well. Poor WF should have gone to London like his brother.

@sonjabaevska8028 6 ай бұрын

Wonderful concerto♥️and orchestra

@andremarcdelcourt Ай бұрын

Thank you for sharing this beautifull work 🌈💫

@aldeoduguay4785 6 ай бұрын

D'une extraordinaire beauté!

@luciapiatto3965 6 ай бұрын

Un gioiello.

@vioricamotogna9490 6 ай бұрын

Very Nice! Thank you!!🌷🦋

@flavioa.c.losada6919 6 ай бұрын

Showowonderful💐

@sandygardiner6433 6 ай бұрын

Enjoyed ❤️🙏🇨🇦

@Steinbach1984 6 ай бұрын

Much of WF's work is either old-fashioned baroque or empty galanterie, but this concerto can easily stand next to the best of Carl Philipp Emanuel. His musical output is like his life: wavering between extremes but occasionally finding a safe haven.

@caminobop9962 4 ай бұрын

I don't know that galanterie is necessarily empty: it's the right thing at the right place when it's called for. (Very often in my life.) And it's by no means easy to compose, probably harder than an exercise in fugue composition. An appeal to taste, to the "bon goût" of the palate of the ear, may not seem technically demanding, but it is difficult because human taste can be so exquisitely discriminating when it is cultivated. One could call wine from an exceptionally good year "empty" but that makes no sense, for what should it be filled with? Superior mastery in counterpoint could just as well be "empty," because even the most impressive handling of the technical rules cannot, ultimately, hide an emptiness arising from a lack of musical imagination. Galant music and the pre-classical styles have nothing to hide behind: they are naked before an unforgiving musical ear that will pick up the tiniest divergence from that indefinable thing which is prevailing musical taste.