Donald Macleod explores CPE Bach's time in Hamburg, freed from the court of Frederick the Great, and embarking on a huge amount of vocal writing.
This week we look at how CPE Bach's music and reputation in the light of the sensational rediscovery of much his archive in 1999. Throughout the week we'll hear recent recordings of this 'new' music. In this episode, Donald Macleod explores CPE Bach’s time in Hamburg, freed from the court of Frederick the Great, and embarking on a huge amount of vocal writing.
Carl Philipp Emanuel Bach had felt constrained by court life, and never appreciated by the king. On the death of his godfather Telemann, Bach secured the plum job of Kapelmeister in Hamburg. In his new Hamburg post he had to compose at least one new sacred work every week to satisfy the demands of the city’s churches. Bach soon found himself with a large circle of friends, of the kind that he had had in Berlin, including preachers, university professors, and writers and poets – among them the poets Gotthold Lessing and Friedrich Klopstock. In Hamburg, Bach found the time for the extracurricular composing he had always wanted to do.
Magnificat anima mea Dominum, Et misericordia eius, Gloria Patri et Filio, Sicut erat in principio (Magnificat, Wq 215)
Akademie für Alte Musik Berlin
Hans-Christoph Rademann, conductor
Quartet in D Major, Wq 94
Nicholas McGegan, flute
Catherine Mackintosh, viola
Anthony Pleeth, cello
Christopher Hogwood, fortepiano
Rondo in A minor Wq 56 No 5
Christine Schornsheim, clavichord
Gott fähret auf mit Jauchzen, Wq 240 (Die Auferstehung und Himmelfahrt Jesu)
Das Kleine Konzert
Hermann Max, conductor
Produced by Iain Chambers for BBC Wales