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Sanguineus & Melancholicus

Florilegium

C. P. E Bach

SKU: 11197

Year of release: 1997

Quartet in D Major Wq. 94 14:46
1. Allegretto C. P. E Bach 05:14
2. Sehr langsam und ausgehalten C. P. E Bach 04:36
3. Allegro di molto C. P. E Bach 04:55
4. Larghetto From Sonata in G Minor Wq. 88 C. P. E Bach 06:19
Sonata in C Minor 'Sanguineus & Melancholicus 15:33
5. Allegretto-Presto C. P. E Bach 05:02
6. Adagio C. P. E Bach 04:00
7. Allegro C. P. E Bach 06:30
Sonata in A Minor Wq. 132 10:33
8. Poco Adagio C. P. E Bach 04:14
9. Allegro C. P. E Bach 03:19
10. Allegro C. P. E Bach 02:59
Sonata in C Major Wq. 147 14:39
11. Allegro C. P. E Bach 03:59
12. Adagio C. P. E Bach 05:08
13. Allegro C. P. E Bach 05:31
Total time: 61:53

About this album

Sanguineus und Melancholicus What comprises good performance? The ability through singing or playing to make the ear conscious of the true content and affect of the composition. Any passage can be so radically changed by modifying its performance that it will be scarcely recognisable…. Good performance, then, occurs when one hears all notes and their embellishments played in correct time with fitting volume produced by a touch which is related to the true content of the piece (Versuch ber die wahre Art das Clavier zu spielen). C.P.E. Bachs instructions illustrates the aestheticism of the era. In his eyes good performance is a matter of portraying rage, anger, and other passions or the briskness of allegros…. the tenderness of adagios. Much of Bachs music has a strong improvisatory character, with large dynamic ranges, dramatic changes of mood, and sudden textural contrasts (The Empfindsamkeit style). These are the affects that the performer must understand and identify in Bachs music. One of C.P.E. Bachs most programmatic chamber pieces is entitled a Conversation between a Sanguineus and a Melancholicus.

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Reviews

Rpertoire

(...) ce disque reste plus que recommandable. (...)

BBC Music Magazine

(...) All is played with sensibility and expressive warmth.

Luister

(...) De kracht van deze musici ligt in hun vermogen om met verrassende interpretaties een geweldige spanning te creren, waardoor je voortdurend geboeid blijft. (...)

Gramophone

(...) The talented Florilegium players bring out to the full the bewilderlingly diverse character of the sonatas (...) (...) Ashley Solomon's performance is most persuasive.(...) (...) The whole disque is strongly recommended.

Early Music Review

(...) een betoverend mooie cd, waarop Florilegium rijk en excellent musicieert (...) Leeuwarder Courant, October 1998 (...) More of the same will be welcome (...)

Diapason

(...) raffinement des sonorits combines avec une nergie, une vigueur et une tension des plus stimulantes. (...)

Telegraaf

(...) Florilegium speelt deze muziek sprankelend (...) (...) Luister naar Florilegium, dan hoor je wat de componist bedoelde.

Fanfare

(...) What fascinates us in the music of C.P.E. Bach is his peculiar way of combining his own very dignified brand of seriousness and a often positively disruptive concentration on dramatic surprese of the moment - at the expense of the symmetry and formal organization the seriousness leads us to expect. (...) (...) Highly recommended as an introduction to the still rather mysterious world of C.P.E. Bach's chamber music.

Technical Specifications

Digital To Analog ConverterSony
Mastering EquimentSony digital Editor 3000
Mastering EngineerJared Sacks
Mixing ConsoleRens Heijnis Custom made
MicrophonesBruel & Kjaer, Schoeps
Recording FormatPCM 44.1
Analog To Digital ConverterdCS900
Recording DateFebruary 1997
Recording LocationSt. Martin's Church, East Woodhay, England
EditingJared Sacks
Recording Engineerjared Sacks
ProducerWalter van Hauwe