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Laurence Dean|Chamber Music - ABEL, C.F. / QUANTZ, J.J. / BENDA, F. / TELEMANN, G.P. / BENDA, G. / KIRNBERGER, J.P. / MUTHEL, J.G. (Amor ist mein Lied) (Carl Friedrich Abel - Johann Joachim Quantz - Carl Philipp Emanuel Bach)

Chamber Music - ABEL, C.F. / QUANTZ, J.J. / BENDA, F. / TELEMANN, G.P. / BENDA, G. / KIRNBERGER, J.P. / MUTHEL, J.G. (Amor ist mein Lied) (Carl Friedrich Abel - Johann Joachim Quantz - Carl Philipp Emanuel Bach)

Carl Friedrich Abel - Johann Joachim Quantz - Carl Philipp Emanuel Bach

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The Empfindsam or “sentimental” style of music embodied by Carl Philipp Emanuel Bach and his contemporaries was a direct response to the most modern literary in Germany and intellectual currents of their time. It developed with the rise of the middle class in the later eighteenth century and its hallmarks are subjective feelings, extreme displays of emotion and the triumph of feeling over reason. The use of harp on this recording is unprecedented, but upon reflection directly in keeping with the tendencies of the age. The subtleties of dynamics and articulation possible on this instrument make it an ideal companion to the transverse flute; together this instrumental duo is excellently suited to the expressive needs of the “Empfindsamer Stil”. © Christophorus

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Chamber Music - ABEL, C.F. / QUANTZ, J.J. / BENDA, F. / TELEMANN, G.P. / BENDA, G. / KIRNBERGER, J.P. / MUTHEL, J.G. (Amor ist mein Lied) (Carl Friedrich Abel - Johann Joachim Quantz - Carl Philipp Emanuel Bach)

Laurence Dean

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1
Flute Sonata in F major, Op. 6, No. 5: I. Adagio
Andrew Lawrence-King
00:03:30

Laurence Dean, flute - Andrew Lawrence-King, harpsichord

2
Flute Sonata in F major, Op. 6, No. 5: II. Allegro
Andrew Lawrence-King
00:04:11

Laurence Dean, flute - Andrew Lawrence-King, harpsichord

3
Flute Sonata in F major, Op. 6, No. 5: III. Vivace
Andrew Lawrence-King
00:03:10

Laurence Dean, flute - Andrew Lawrence-King, harpsichord

4
Adagio in C major
Andrew Lawrence-King
00:04:48

Laurence Dean, flute - Andrew Lawrence-King, harpsichord

5
Amor ist mein Leid
Laurence Dean
00:04:23

Laurence Dean, flute - Andrew Lawrence-King, harpsichord

6
Flute Sonata in E minor: I. Largo, ma un poco andante
Andrew Lawrence-King
00:02:58

Laurence Dean, flute - Andrew Lawrence-King, harp

7
Flute Sonata in E minor: II. Arioso, un poco allegro
Laurence Dean
00:04:47

Laurence Dean, flute - Andrew Lawrence-King, harp

8
Flute Sonata in E minor: III. Presto
Andrew Lawrence-King
00:03:30

Laurence Dean, flute - Andrew Lawrence-King, harp

9
12 Fantaisies: No. 6 in D minor, TWV 40:7: I. Dolce
Laurence Dean
00:02:58

Laurence Dean, flute

10
12 Fantaisies: No. 6 in D minor, TWV 40:7: II. Allegro
Laurence Dean
00:01:15

Laurence Dean, flute

11
12 Fantaisies: No. 6 in D minor, TWV 40:7: III. Spiritoso
Laurence Dean
00:01:05

Laurence Dean, flute

12
Flute Sonata in G major: I. Allegro moderato
Andrew Lawrence-King
00:05:42

Laurence Dean, flute - Andrew Lawrence-King, harp

13
Flute Sonata in G major: II. Andantino
Laurence Dean
00:04:29

Laurence Dean, flute - Andrew Lawrence-King, harp

14
Flute Sonata in G major: III. Allegro
Andrew Lawrence-King
00:02:54

Laurence Dean, flute - Andrew Lawrence-King, harp

15
Komm, Gott, Schopfer, heil'ger Geist
Laurence Dean
00:03:24

Laurence Dean, flute - Andrew Lawrence-King, organ

16
Flute Sonata in D major: I. Adagio
Andrew Lawrence-King
00:06:00

Laurence Dean, flute - Andrew Lawrence-King, harpsichord

17
Flute Sonata in D major: II. Allegro ma non troppo
Laurence Dean
00:05:02

Laurence Dean, flute - Andrew Lawrence-King, harpsichord

18
Flute Sonata in D major: III. Cantabile
Andrew Lawrence-King
00:03:46

Laurence Dean, flute - Andrew Lawrence-King, harpsichord

19
Flute Sonata in E flat major, BWV 1031: Flute Sonata in E flat major, BWV 1031: II. Siciliano
Andrew Lawrence-King
00:02:42

Laurence Dean, flute - Andrew Lawrence-King, cembalo

Albumbeschreibung

The Empfindsam or “sentimental” style of music embodied by Carl Philipp Emanuel Bach and his contemporaries was a direct response to the most modern literary in Germany and intellectual currents of their time. It developed with the rise of the middle class in the later eighteenth century and its hallmarks are subjective feelings, extreme displays of emotion and the triumph of feeling over reason. The use of harp on this recording is unprecedented, but upon reflection directly in keeping with the tendencies of the age. The subtleties of dynamics and articulation possible on this instrument make it an ideal companion to the transverse flute; together this instrumental duo is excellently suited to the expressive needs of the “Empfindsamer Stil”. © Christophorus

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