Ana-Marija Markovina - C.P.E. Bach: The Complete Works for Piano Solo Vol. 1-26 (2014)
Artist: Ana-Marija Markovina
Title Of Album: C.P.E. Bach: The Complete Works for Piano Solo Vol. 1-26
Year Of Release: 2014
Label: Hanssler
Genre: Classical
Quality: 320 / FLAC
Total Time: 33:39:13
Total Size: 6.89 GB
WebSite:
Product Description
March 8th, 2014 marks the 300th Birthday of Carl Philipp Emanuel Bach. This is the first recording of the complete piano works by C.P.E. Bach. Ana-Marija Markovina, the featured artist for these recordings, has been working for over ten years with the music of CPE Bach and has developed her own intuitive approach to his style. During his lifetime, CPE Bach was more famous than his father, Johann Sebastian; it is time to rediscover the incredible range and the quality of his once again.
Review
This past March, shortly after the 300th birthday of Carl Philipp Emanuel Bach, Johann Sebastian Bach's second surviving son, I took stock of the ambitious efforts of the hänssler CLASSIC label to celebrate this anniversary year. However, I did not fully appreciate the extent of the label's ambitions until I encountered the box set of pianist Ana-Marija Markovina recording the complete keyboard works of "Bach the son." Consisting of 26 CDs, this is an impressively thorough effort to cover the entire keyboard canon, including the unpublished works, as well as the published ones, and the entries in Eugene Helm's 1989 catalog that had not been included in the 1906 catalog compiled by Alfred Wotquenne.
As important as thoroughness, however, is Markovina's decision to play all of this music on a modern piano. Bach lived a full life, born on March 8, 1714 and living until December 14, 1788, meaning that he most likely was born after Bartolomeo Cristofori built his first piano (which was probably before 1700). By the time he died, we have every reason to believe that Wolfgang Amadeus Mozart was already composing with this "modern" instrument in mind; and the same can be said of Joseph Haydn with about the same level of confidence.
Purists may still prefer to insist that Bach's music would have been better served by a "period" instrument. However, Bach was a very demanding virtuoso. Between his source material and the scrupulous efforts of subsequent scholarly editors, we have grounds to assume that Bach appreciated the rhetorical impact of not only the clear distinctions between piano and forte but also the gradual transitions between them achieved through decrescendo and crescendo, that latter having become firmly established through the instrumental practices of the Mannheim court orchestra.
I have only a few of Emanuel Bach's piano works, and yet even a few must not only bring every true artist great enjoyment but also serve him as study material.
Future generations (going all the way to Arnold Schoenberg) would be saying the same of Beethoven's own piano works.
In such an auspicious context, I have spent the better part of this month listening to Markovina's recordings. Since the collection has not been arranged in chronological order, one cannot talk about the box set, taken as a whole, defining any sort of "journey." Nevertheless, there is something to be said for giving these recordings some "deep-end" listening, even if that does not necessarily entail traversing the entire collection without letting any other music "distract." (No, my own listening was definitely not that intense.)
When confronted with a generous sample, one begins to appreciate that Bach was as much a virtuoso at the keyboard as his father was. Just as importantly, however, by surveying a broad collection of his music, the mind begins to discern a set of tropes in his rhetoric that differ significantly from those of his father. Indeed, to the contrary, those tropes are familiar to us because we have been exposed to them through our familiarity with Mozart and Haydn. In other words as we get to know those tropes, we can appreciate that those "testimonials" provided by Schlüren are far more than gratuitous lip service.
Every one of the 26 CDs in this collection can be appreciated for this "double-edged value;" but there is the additional joy of recognizing just how prodigious Bach could be over the course of a long and happy professional life. --Stephen Smoliar, National Examiner
This 26-CD set containing CPE Bach's complete solo piano works represents a landmark of the highest importance and, more significantly, listening pleasure. Ana-Marija Markovina has made a specialty of playing these works. She previously recorded the Prussian and Württemburg sonatas (for Genuin), but it is difficult to overstate the richness and variety found on these discs, or Markovina's consistent success in rendering it all with such freshness, excitement, intensity, and charm. --David Hurwitz, classicstoday.com
March 8th, 2014 marks the 300th Birthday of Carl Philipp Emanuel Bach. This is the first recording of the complete piano works by C.P.E. Bach. Ana-Marija Markovina, the featured artist for these recordings, has been working for over ten years with the music of CPE Bach and has developed her own intuitive approach to his style. During his lifetime, CPE Bach was more famous than his father, Johann Sebastian; it is time to rediscover the incredible range and the quality of his once again.
Review
This past March, shortly after the 300th birthday of Carl Philipp Emanuel Bach, Johann Sebastian Bach's second surviving son, I took stock of the ambitious efforts of the hänssler CLASSIC label to celebrate this anniversary year. However, I did not fully appreciate the extent of the label's ambitions until I encountered the box set of pianist Ana-Marija Markovina recording the complete keyboard works of "Bach the son." Consisting of 26 CDs, this is an impressively thorough effort to cover the entire keyboard canon, including the unpublished works, as well as the published ones, and the entries in Eugene Helm's 1989 catalog that had not been included in the 1906 catalog compiled by Alfred Wotquenne.
As important as thoroughness, however, is Markovina's decision to play all of this music on a modern piano. Bach lived a full life, born on March 8, 1714 and living until December 14, 1788, meaning that he most likely was born after Bartolomeo Cristofori built his first piano (which was probably before 1700). By the time he died, we have every reason to believe that Wolfgang Amadeus Mozart was already composing with this "modern" instrument in mind; and the same can be said of Joseph Haydn with about the same level of confidence.
Purists may still prefer to insist that Bach's music would have been better served by a "period" instrument. However, Bach was a very demanding virtuoso. Between his source material and the scrupulous efforts of subsequent scholarly editors, we have grounds to assume that Bach appreciated the rhetorical impact of not only the clear distinctions between piano and forte but also the gradual transitions between them achieved through decrescendo and crescendo, that latter having become firmly established through the instrumental practices of the Mannheim court orchestra.
I have only a few of Emanuel Bach's piano works, and yet even a few must not only bring every true artist great enjoyment but also serve him as study material.
Future generations (going all the way to Arnold Schoenberg) would be saying the same of Beethoven's own piano works.
In such an auspicious context, I have spent the better part of this month listening to Markovina's recordings. Since the collection has not been arranged in chronological order, one cannot talk about the box set, taken as a whole, defining any sort of "journey." Nevertheless, there is something to be said for giving these recordings some "deep-end" listening, even if that does not necessarily entail traversing the entire collection without letting any other music "distract." (No, my own listening was definitely not that intense.)
When confronted with a generous sample, one begins to appreciate that Bach was as much a virtuoso at the keyboard as his father was. Just as importantly, however, by surveying a broad collection of his music, the mind begins to discern a set of tropes in his rhetoric that differ significantly from those of his father. Indeed, to the contrary, those tropes are familiar to us because we have been exposed to them through our familiarity with Mozart and Haydn. In other words as we get to know those tropes, we can appreciate that those "testimonials" provided by Schlüren are far more than gratuitous lip service.
Every one of the 26 CDs in this collection can be appreciated for this "double-edged value;" but there is the additional joy of recognizing just how prodigious Bach could be over the course of a long and happy professional life. --Stephen Smoliar, National Examiner
This 26-CD set containing CPE Bach's complete solo piano works represents a landmark of the highest importance and, more significantly, listening pleasure. Ana-Marija Markovina has made a specialty of playing these works. She previously recorded the Prussian and Württemburg sonatas (for Genuin), but it is difficult to overstate the richness and variety found on these discs, or Markovina's consistent success in rendering it all with such freshness, excitement, intensity, and charm. --David Hurwitz, classicstoday.com
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