Symphony in E-flat major (Wq183:2 / H 664) - C.P.E. Bach скачать в хорошем качестве

Symphony in E-flat major (Wq183:2 / H 664) - C.P.E. Bach

Carl Philipp Emanuel Bach Chamber Orchestra conducted by Hartmut Haenchen I - Allegro di molto - (attacca): 0:00 II - Larghetto - (attacca): 4:06 III - Allegretto: 5:27 The four symphonies of Wq 183 represent Carl Philipp Emanuel Bach’s final and most imposing contribution to the genre. Though Bach’s earlier symphonies were chiefly composed for four-part string orchestra, with winds added later to some works, this set was conceived and written for a full orchestra including pairs of flutes and oboes, bassoon, two horns, five-part strings, and basso continuo. Not only are all seven winds obbligato, but instead of the single “Basso” part of the earlier symphonies, Bach has provided a separate part for violoncello and another for violone and basso continuo throughout. Further, these four works constitute the only set of symphonies that he published. These four symphonies follow the three-movement (fast-slow-fast) structure characteristic of the north German symphony in this period. Ernst Suchalla argues that Bach’s symphonic structure emphasizes the first movement over the last two movements, with the emphasis on the first movement especially strong in these four late symphonies, as the contemporary critics had noted. His detailed analyses of the first movements of these symphonies show that Bach uses a sophisticated ternary structure, approaching sonata form in many examples. The most significant point of the late symphonies is Bach’s use of advanced thematic and motivic structures, allowing for thematic variation and development. Yet there are also hints of ritornello structures in each of these movements, which may help to explain Bach’s use of strong contrasts of texture and dynamics. Suchalla has perhaps best characterized the style of these works: the use of contrasting elements of homophonic and polyphonic textures, along with thematic and motivic development, as a means towards emotion and expressivity C. P. E. Bach had formulated a new and personal musical language, one distinctly different from that of his father. Although these symphonies do not correspond to our view of Viennese symphonic style in the 1780s and after, there are significant points of comparison. Bach’s employment of contrapuntal devices in the presentation and development of motivic material certainly represents one parallel. Christoph Wolff argues that Bach’s use of the winds to create a texture with more than four obbligato parts anticipates procedures found in Mozart’s orchestral writing starting in 1784 and in Haydn’s after 1790. The striking key scheme of the D major Symphony with the middle movement in the Neapolitan, presages the tonal relationships between movements in many late works by Haydn, though even that master seldom went so far afield harmonically. The first movement, in E flat major, is written in a ternary form. It opens with a festive, curtain-raising theme, but a fast, descending figure almost immediately collapses into a series of convulsive shivers. A lyrical motif presented by the flutes serves as a brief contrast, but the quaking figure is never far in the background, and indeed it stops the action more than once during the development. A recapitulation presents again the main theme, coupled with the lyrical counter-motif. A brief lyrical bridge links to the next section. The second movement, in E flat major, is written in a monothematic form. The orchestra presents a wide and lyrical theme, with sensitive woodwind writing that ornaments almost like in a solithat anticipates the early Romantics. Barely has this established itself when it passes to the next movement. The third movement, in E flat major, is written as a theme with variations. It rises from a fairly low dynamic level, not providing too much of an initial shock after the Larghetto. With strongly marked rhythms, the music spins out long ribbons of string passagework, interrupted periodically by brief phrases of contrasting character. The lack of ornamentation is compensed by modulations and a more strong focus on the rhythmic part. The work concludes with a bright coda. Picture: Engraving of Carl Philipp Emanuel Bach (c1987) Sources: https://www.allmusic.com/composition/... and https://cpebach.org/toc/toc-III-3.html Musical analysis done partially by me