SONATAS FOR FLUTE & CONTINUO

Composer(s): Carl Philipp Emanuel Bach

Artist(s): Toshiyuki Shibata, Bart Naessens
Reference: KTC1667
Barcode: 8718011606112
Format: 1 CD
Release date: 2019-11-20
SKU: KTC1667 Categories: , ,

€ 21,50

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The emotion awakens
In contrast to Johann Sebastian Bach, who has been acclaimed as one of the greatest composers of all time, Bach’s second son Carl Philipp Emanuel Bach remains undervalued. Yet he, too, left great musical assets on this planet. The first time I came across Carl Philipp’s compositions did not, in fact, occur during my study of early music: two of Carl Philipp’s compositions, the sonata in a minor for solo flute Wq 132 and the flute concerto in d minor Wq22 , are part of the standard repertoire for final exams and competitions for students of the Boehm flute, the contemporary instrument with which I began my career. Still, it wasn’t until I started studying the flauto traverso, in other words, when I entered the world of early music, that I encountered the "jewels" that I recorded here.

Belgium has been a hotspot for early music since the beginning of the movement in the 1970s. The country has produced many pioneers and Brussels has become one of the central locations of the early music scene. By a stroke of luck, a number of manuscripts by Carl Philipp Emanuel Bach happen to be kept in the collection of the music library of the Royal Conservatory in Brussels. Their presence there led me to pay more attention to these scores, and eventually ended up changing my views on baroque music.

Even if his music contains so many treasures, why should we turn yet again to Carl Philipp Emmanuel Bach if several recordings are already available on the market? On this recording, I approached Carl Philipp as a pre-Romantic composer, as opposed to just one of baroque ones. At the time of the so-called "classical" period, every single composer sought to find his or her own language and aimed to generate "storms." But in fact, not everyone was Mozart. Considering the Empfindsamer Stil as the transitional bridge toward the Romantic era, rather than just one of the compositional styles of the late baroque, enables us to capture Carl Philipp’s music more clearly. The origin of Romanticism derives from the aim to evaluate one’s instincts and personal emotions, rather than to examine authentic facts. Of course, understanding the rhetoric and ornamentation of Carl Philipp’s works remains important, but I strongly believe that grasping the mission statement of the composer should take a more crucial role in the process of recreating his music.

Robert Schuman wrote about Carl Phillip that "as a creative musician he remained very far behind his father." I hope the revolutionary qualities of his compositions will prove Schumann wrong.

May the emotion be with you.

Toshiyuki Shibata
Brussels, 2019

1. Sonatas for Flute & Continuos: Sonata in G Major, H.550: I. Andante
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

2. Sonatas for Flute & Continuos: Sonata in G Major, H.550: II. Allegro
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

3. Sonatas for Flute & Continuos: Sonata in G Major, H.550: III. Minuetto
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

4. Sonatas for Flute & Continuos: Sonata in E Minor, H. 551: I. Adagio
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

5. Sonatas for Flute & Continuos: Sonata in E Minor, H.551: II. Allegro
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

6. Sonatas for Flute & Continuos: Sonata in E Minor, H.551: III. Menuet
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

7. Sonatas for Flute & Continuos, H.97: La Gabriel
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

8. Sonatas for Flute & Continuos, Sonata in B-Flat Major, H.552: I. Adagio
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

9. Sonatas for Flute & Continuos, Sonata in B-Flat Major, H.552: II. Allegro
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

10. Sonatas for Flute & Continuos, Sonata in B-Flat Major, H.552: III. Vivace
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

11. Sonata for Keyboard in G Major, H.68: I. Andantino
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

12. Sonata for Keyboard in G Major, H.68: II. Larghetto
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

13. Sonata for Keyboard in G Major, H.68: III. Allegro
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

14. Sonatas for Flute & Continuos: Sonata in A Minor, H.555: I. Andante
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

15. Sonatas for Flute & Continuos: Sonata in A Minor, H.555: II. Allegro
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

16. Sonatas for Flute & Continuos: Sonata in A Minor, H.555: III. Vivace
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

17. Sonatas for Flute & Continuos, H.98: La Caroline
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

18. Sonatas for Flute & Continuos: Sonata in D Major, H.561: I. Andante
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

19. Sonatas for Flute & Continuos: Sonata in D Major, H.561: II. Allegro
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

20. Sonatas for Flute & Continuos: Sonata in D Major, H.561: III. Allegro II
Composer: Carl Philipp Emanuel Bach
Artist(s): Toshiyuki Shibata, Bart Naessens

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SONATAS FOR FLUTE & CONTINUO
€ 21,50
Listen on your favorite streaming serviceSpotify IconSpotify
Listen on your favorite streaming serviceSpotify IconSpotify

The emotion awakens
In contrast to Johann Sebastian Bach, who has been acclaimed as one of the greatest composers of all time, Bach’s second son Carl Philipp Emanuel Bach remains undervalued. Yet he, too, left great musical assets on this planet. The first time I came across Carl Philipp’s compositions did not, in fact, occur during my study of early music: two of Carl Philipp’s compositions, the sonata in a minor for solo flute Wq 132 and the flute concerto in d minor Wq22 , are part of the standard repertoire for final exams and competitions for students of the Boehm flute, the contemporary instrument with which I began my career. Still, it wasn’t until I started studying the flauto traverso, in other words, when I entered the world of early music, that I encountered the "jewels" that I recorded here.

Belgium has been a hotspot for early music since the beginning of the movement in the 1970s. The country has produced many pioneers and Brussels has become one of the central locations of the early music scene. By a stroke of luck, a number of manuscripts by Carl Philipp Emanuel Bach happen to be kept in the collection of the music library of the Royal Conservatory in Brussels. Their presence there led me to pay more attention to these scores, and eventually ended up changing my views on baroque music.

Even if his music contains so many treasures, why should we turn yet again to Carl Philipp Emmanuel Bach if several recordings are already available on the market? On this recording, I approached Carl Philipp as a pre-Romantic composer, as opposed to just one of baroque ones. At the time of the so-called "classical" period, every single composer sought to find his or her own language and aimed to generate "storms." But in fact, not everyone was Mozart. Considering the Empfindsamer Stil as the transitional bridge toward the Romantic era, rather than just one of the compositional styles of the late baroque, enables us to capture Carl Philipp’s music more clearly. The origin of Romanticism derives from the aim to evaluate one’s instincts and personal emotions, rather than to examine authentic facts. Of course, understanding the rhetoric and ornamentation of Carl Philipp’s works remains important, but I strongly believe that grasping the mission statement of the composer should take a more crucial role in the process of recreating his music.

Robert Schuman wrote about Carl Phillip that "as a creative musician he remained very far behind his father." I hope the revolutionary qualities of his compositions will prove Schumann wrong.

May the emotion be with you.

Toshiyuki Shibata
Brussels, 2019