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Classical - Released January 1, 1991 | Accent

Distinctions 9 de Classica-Répertoire - Exceptional Sound Recording
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Cello Concertos - Released October 9, 2007 | harmonia mundi

Distinctions Diapason d'or
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Classical - Released October 18, 2019 | Glossa

Hi-Res Booklet
Carl Philipp Emanuel Bach was Johann Sebastian Bach’s second and most successful son. He was a transitional figure between the Baroque and the Classicism, and greatly influenced Mozart and Beethoven, partly thanks to his keyboard sonatas. In the 18th century, the cello concerto was still a fairly new genre, and Boccherini and Haydn had not yet written their contributions at the point when C.P.E. Bach completed his, the three concertos written between 1750 and 1753. The tempestuous drama of the openings and the carefree candour of the finales stand in stark contrast to the tenderness and emotional depth of the slow parts. The renowned Belgian cellist Roel Dieltiens and the legendary Orchestra of the Eighteenth Century reveal themselves to be born raconteurs, turning this music into fascinating, colourful stories. The edition includes a beautiful essay by the popular novelist Anna Enquist, a long-time friend of the Orchestra and of the late Frans Brüggen, in which she takes her experience visiting the recording sessions of this album in Amsterdam as a departure point to explore the musical personality of Carl Philipp Emanuel, especially when seen in relation to his father’s “œuvre”. © Glossa
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Classical - Released May 26, 2015 | Accent

Booklet
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Classical - Released September 1, 2009 | Etcetera

Antonio Vivaldi had his own cello specialist for part of his tenure at the Ospedale della Pietà, and there were several other virtuoso cellists in his orbit. His six sonatas for cello and continuo, of an unknown date of composition, are surprisingly simple technically and may have been intended as teaching pieces at the Ospedale. Most Baroque cellists and viol players, as well as quite a few performers on the modern cello, have recorded them, but this set by Dutch-Swiss cellist Roel Dieltiens stands out as dramatic and adventurous. It won't be to all tastes, but if you're curious about a northwestern European counterpart to the ultra-operatic Italian approaches to Vivaldi's instrumental music, give this nicely recorded historical-instrument disc from Etcetera a try. The booming continuo group could not be more different from the plain harpsichord and subtle added cello of Jaap ter Linden's budget set on the Brilliant label. Keyboardist Bart Naessens plays both harpsichord and organ, and he is joined by various combinations of Baroque guitar, cello, and violone, seemingly chosen according to the particular character of the movement being played. And that character is heavily emphasized; Dieltiens, save for the fact that he is playing a Baroque cello, sounds like Rostropovich in the emotional intensity and tempo flexibility he gives to the slow movements that open each of the five sonatas recorded here. Even more unusually, the last sonata on the disc, No. 7 (RV 44), features interpolated improvisations for the organ and the guitar, the latter with a sort of sung-along line from guitarist Jurgen de Bruyn. It might have been nice to hear something in the notes about this, but the listener is asked to take it on fait. The bottom line is that this is Vivaldi at maximum intensity level, which generally serves these sonatas well; there are plenty of unexciting versions of them. This is further testimony that many Vivaldi works are just now finding basic interpretations that work. © TiVo
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Classical - Released June 1, 2010 | Etcetera

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Chamber Music - Released January 21, 2013 | harmonia mundi

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Chamber Music - Released June 15, 2011 | harmonia mundi

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Chamber Music - Released January 1, 2007 | Accent

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Classical - Released January 1, 1991 | Accent