With these six symphonies dedicated to Baron van Swieten, Carl Philipp Emanuel Bach demonstrated his talent for instrumental and expressive genius.
Entirely devoid of sentimentality and gratuitous extravagance, they open the doors to both Viennese Classicism and its immediate successor:
Romanticism.
It was only natural that, after tackling Haydn and the Esterházy princes, Amandine Beyer and Gli Incogniti should investigate this repertoire in which, once again, aristocratic patronage lies at the heart of musical creation.
1 Sinfonia in G Major, H. 657, WQ. 182/1: I. Allegro Di Molto
2 Sinfonia in G Major, H. 657, WQ. 182/1: II. Poco Adagio
3 Sinfonia in G Major, H. 657, WQ. 182/1: III. Presto
4 Sinfonia in E Major, H. 662, WQ. 182/6: I. Allegro Di Molto
5 Sinfonia in E Major, H. 662, WQ. 182/6: II. Poco Andante
6 Sinfonia in E Major, H. 662, WQ. 182/6: III. Allegro Spirituoso
7 Sinfonia in B minor, H. 661, WQ. 182/5: I. Allegretto
8 Sinfonia in B minor, H. 661, WQ. 182/5: II. Larghetto
9 Sinfonia in B minor, H. 661, WQ. 182/5: III. Presto
10 Sinfonia in a Major, H. 660, WQ. 182/4: I. Allegro Ma Non Troppo
11 Sinfonia in a Major, H. 660, WQ. 182/4: II. Largo Ed Innocentemente
12 Sinfonia in a Major, H. 660, WQ. 182/4: III. Allegro Assai
13 Sinfonia in C Major, H. 659, WQ. 182/3: I. Allegro Assai
14 Sinfonia in C Major, H. 659, WQ. 182/3: II. Adagio
15 Sinfonia in C Major, H. 659, WQ. 182/3: III. Allegretto
16 Sinfonia in E minor, H. 652, WQ. 177: I. Allegro Assai
17 Sinfonia in E minor, H. 652, WQ. 177: II. Andante Moderato
18 Sinfonia in E minor, H. 652, WQ. 177: III. Allegro
19 Sinfonia in B-Flat Major, H. 658, WQ. 182/2: I. Allegro Di Molto
20 Sinfonia in B-Flat Major, H. 658, WQ. 182/2: II. Poco Adagio
21 Sinfonia in B-Flat Major, H. 658, WQ. 182/2: III. Presto
With these six symphonies dedicated to Baron van Swieten, Carl Philipp Emanuel Bach demonstrated his talent for instrumental and expressive genius.
Entirely devoid of sentimentality and gratuitous extravagance, they open the doors to both Viennese Classicism and its immediate successor:
Romanticism.
It was only natural that, after tackling Haydn and the Esterházy princes, Amandine Beyer and Gli Incogniti should investigate this repertoire in which, once again, aristocratic patronage lies at the heart of musical creation.
