00:00:00 Arioso con 7 variazioni in F Major, H. 54 00:01:08 Arioso con 7 variazioni in F Major, H. 54: I. Variation 1 00:02:11 Arioso con 7 variazioni in F Major, H. 54: II. Variation 2 00:03:09 Arioso con 7 variazioni in F Major, H. 54: III. Variation 3 00:04:07 Arioso con 7 variazioni in F Major, H. 54: IV. Variation 4 00:05:07 Arioso con 7 variazioni in F Major, H. 54: V. Variation 5 00:06:10 Arioso con 7 variazioni in F Major, H. 54: VI. Variation 6 00:07:13 Arioso con 7 variazioni in F Major, H. 54: VII. Variation 7 00:08:23 Allegretto in C Major, H. 65 00:09:52 Allegretto in C Major, H. 65: I. Variation 1 00:11:15 Allegretto in C Major, H. 65: II. Variation 2 00:12:40 Allegretto in C Major, H. 65: III. Variation 3 00:13:58 Allegretto in C Major, H. 65: IV. Variation 4 00:15:21 Allegretto in C Major, H. 65: V. Variation 5 00:16:40 Allegretto in C Major, H. 65: VI. Variation 6 00:18:11 “Ich schleif, da träumte mir”, H. 68 00:19:06 “Ich schleif, da träumte mir”, H. 68: I. Variation 1 00:20:01 “Ich schleif, da träumte mir”, H. 68: II. Variation 2 00:20:54 “Ich schleif, da träumte mir” , H. 68: III. Variation 3 00:21:45 “Ich schleif, da träumte mir” , H. 68: IV. Variation 4 00:22:35 “Ich schleif, da träumte mir” , H. 68: V. Variation 5 00:23:25 “Ich schleif, da träumte mir” , H. 68: VI. Variation 6 00:24:15 “Ich schleif, da träumte mir” , H. 68: VII. Variation 7 00:25:07 “Ich schleif, da träumte mir” , H. 68: VIII. Variation 8 00:25:51 “Ich schleif, da träumte mir” , H. 68: IX. Variation 9 00:26:41 “Ich schleif, da träumte mir” , H. 68: X. Variation 10 00:27:37 “Ich schleif, da träumte mir” , H. 68: XI. Variation 11 00:28:24 “Ich schleif, da träumte mir” , H. 68: XII. Variation 12 00:29:32 “Ich schleif, da träumte mir” , H. 68: XIII. Variation 13 00:30:23 “Ich schleif, da träumte mir” , H. 68: XIV. Variation 14 00:31:21 “Ich schleif, da träumte mir” , H. 68: XV. Variation 15 00:32:19 “Ich schleif, da träumte mir” , H. 68: XVI. Variation 16 00:33:11 “Ich schleif, da träumte mir” , H. 68: XVII. Variation 17 00:34:05 “Ich schleif, da träumte mir” , H. 68: XVIII. Variation 18 00:35:05 “Ich schleif, da träumte mir” , H. 68: XIX. Variation 19 00:36:08 “Ich schleif, da träumte mir” , H. 68: XX. Variation 20 00:37:22 “Ich schleif, da träumte mir” , H. 68: XXI. Variation 21. Alla polacca 00:38:19 “Ich schleif, da träumte mir” , H. 68: XXII. Variation 22. Allegro 00:38:58 “Ich schleif, da träumte mir” , H. 68: XXIII. Variation 23. Siciliano 00:40:41 “Ich schleif, da träumte mir” , H. 68: XXIV. Variation 24. Tempo di minuetto 00:41:55 12 Variations über die Folie d’Espagne in D Minor, H. 263 00:43:58 12 Variations über die Folie d’Espagne in D Minor, H. 263: I. Variation 1 00:44:29 12 Variations über die Folie d’Espagne in D Minor, H. 263: II. Variation 2 00:45:06 12 Variations über die Folie d’Espagne in D Minor, H. 263: III. Variation 3 00:45:42 12 Variations über die Folie d’Espagne in D Minor, H. 263: IV. Variation 4 00:46:17 12 Variations über die Folie d’Espagne in D Minor, H. 263: V. Variation 5 00:46:58 12 Variations über die Folie d’Espagne in D Minor, H. 263: VI. Variation 6 00:47:40 12 Variations über die Folie d’Espagne in D Minor, H. 263: VII. Variation 7. Geschwind 00:48:02 12 Variations über die Folie d’Espagne in D Minor, H. 263: VIII. Variation 8. Sehr langsam 00:48:54 12 Variations über die Folie d’Espagne in D Minor, H. 263: IX. Variation 9 00:49:34 12 Variations über die Folie d’Espagne in D Minor, H. 263: X. Variation 10 00:49:58 12 Variations über die Folie d’Espagne in D Minor, H. 263: XI. Variation 11 00:50:50 12 Variations über die Folie d’Espagne in D Minor, H. 263: XII. Variation 12. Sehr geschwinde 00:51:18 Arioso sostenuto in A Major, H. 535 00:52:58 Arioso sostenuto in A Major, H. 535: I. Variation 1 00:54:36 Arioso sostenuto in A Major, H. 535: II. Variation 2 00:56:02 Arioso sostenuto in A Major, H. 535: III. Variation 3 00:58:32 Arioso sostenuto in A Major, H. 535: IV. Variation 4 01:00:28 Arioso sostenuto in A Major, H. 535: V. Variation 5 01:02:05 Canzonetta con 6 variazioni in F Major, H. 275 01:02:51 Canzonetta con 6 variazioni in F Major, H. 275: I. Variation 1 01:03:36 Canzonetta con 6 variazioni in F Major, H. 275: II. Variation 2 01:04:20 Canzonetta con 6 variazioni in F Major, H. 275: III. Variation 3 01:05:05 Canzonetta con 6 variazioni in F Major, H. 275: IV. Variation 4 01:05:51Canzonetta con 6 variazioni in F Major, H. 275: V. Variation 5 01:06:43 Canzonetta con 6 variazioni in F Major, H. 275: VI. Variation 6 01:07:40 Menuet con 5 variazioni in C Major, H. 44 01:14:06 Arioso in C Major, H. 259 01:15:44 Arioso in C Major, H. 259: I. Variation 1 01:17:16 Arioso in C Major, H. 259: II. Variation 2 01:18:39 Arioso in C Major, H. 259: III. Variation 3 01:20:26 Arioso in C Major, H. 259: IV. Variation 4 01:22:28 Arioso in C Major, H. 259: V. Variation 5 01:23:51 Arioso in C Major, H. 259: VI. Variation 6 01:25:30 Arioso in C Major, H. 259: VII. Variation 7 01:27:42 Arioso in C Major, H. 259: VIII. Variation 8 01:29:27 Arioso in C Major, H. 259: IX. Variation 9 01:31:15 Minuet in G Major, H. 14 01:32:05 Minuet in G Major, H. 14: I. Variation 1 01:33:11 Minuet in G Major, H. 14: II. Variation 2 01:34:02 Minuet in G Major, H. 14: III. Variation 3 01:35:09 Minuet in G Major, H. 14: IV. Variation 4 01:36:12 Minuet in G Major, H. 14: V. Variation 5 01:37:13 Minuet in G Major, H. 14: VI. Variation 6 01:38:18 Minuet in G Major, H. 14: VII. Variation 7 01:39:20 Minuet in G Major, H. 14: VIII. Variation 8 01:40:24 Minuet in G Major, H. 14: IX. Variation 9 01:41:29 Minuet in G Major, H. 14: X. Variation 10 01:42:39 Minuet in G Major, H. 14: XI. Variation 11 01:43:30 Minuet in G Major, H. 14: XII. Variation 12 01:44:42 Minuet in G Major, H. 14: XIII. Variation 13 01:45:48 Minuet in G Major, H. 14: XIV. Variation 14 01:46:51 Minuet in G Major, H. 14: XV. Variation 15 01:47:57 Minuet in G Major, H. 14: XVI. Variation 16 01:49:02 Minuet in G Major, H. 14: XVII. Variation 17 01:50:11 Minuet in G Major, H. 14: XVIII. Variation 18 01:51:16 Minuet in G Major, H. 14: XIX. Variation 19 01:52:22 Minuet in G Major, H. 14: XX. Variation 20 01:53:26 Minuet in G Major, H. 14: XXI. Variation 21 01:54:39 Ariette in A Major, H. 155 01:55:27 Ariette in A Major, H. 155: I. Variation 1 01:56:12 Ariette in A Major, H. 155: II. Variation 2 01:56:59 Ariette in A Major, H. 155: III. Variation 3 01:57:47 Ariette in A Major, H. 155: IV. Variation 4 01:58:34 Ariette in A Major, H. 155: V. Variation 5 01:59:22 Ariette in A Major, H. 155: VI. Variation 6 02:00:07 Ariette in A Major, H. 155: VII. Variation 7 02:00:53 Ariette in A Major, H. 155: VIII. Variation 8 02:01:36 Ariette in A Major, H. 155: IX. Variation 9 02:02:17 Ariette in A Major, H. 155: X. Variation 10 02:03:02 Ariette in A Major, H. 155: XI. Variation 11 02:03:44 Ariette in A Major, H. 155: XII. Variation 12 “vom Herrn C. Fasch” 02:04:31 Ariette in A Major, H. 155: XIII. Variation 13 ”vom Herrn C.P.E. Bach” 02:05:34 Ariette in A Major, H. 155: XIV. Variation 14 “von ebendemselben“ 02:06:19 Ariette in A Major, H. 155: XV. Variation 15 “vom Herrn C. Fasch“ 02:07:05 Ariette in A Major, H. 155: XVI. Variation 16 “von ebendemselben” 02:07:55 Ariette in A Major, H. 155: XVII. Variation 17 “vom Herrn C.P.E. Bach“ 02:08:57 Ariette in A Major, H. 155: XVIII. Variation 18 02:09:55 Ariette in A Major, H. 155: XIX. Variation 19 02:10:46 Ariette in A Major, H. 155: XX. Variation 20 02:11:40 Ariette in A Major, H. 155: XXI. Variation 21 02:13:01 Ariette in A Major, H. 155: XXII. Variation 22 02:13:54 12 Variations on “Colin à peine à seize ans” in G Major, H. 226 02:14:58 12 Variations on “Colin à peine à seize ans” in G Major, H. 226: I. Variation 1 02:16:18 12 Variations on “Colin à peine à seize ans” in G Major, H. 226: II. Variation 2 02:16:47 12 Variations on “Colin à peine à seize ans” in G Major, H. 226: III. Variation 3 02:17:40 12 Variations on “Colin à peine à seize ans” in G Major, H. 226: IV. Variation 4 02:18:35 12 Variations on “Colin à peine à seize ans” in G Major, H. 226: V. Variation 5 02:19:28 12 Variations on “Colin à peine à seize ans” in G Major, H. 226: VI. Variation 6 02:20:23 12 Variations on “Colin à peine à seize ans” in G Major, H. 226: VII. Variation 7 02:21:42 12 Variations on “Colin à peine à seize ans” in G Major, H. 226: VIII. Variation 8 02:22:42 12 Variations on “Colin à peine à seize ans” in G Major, H. 226: IX. Variation 9 02:23:32 12 Variations on “Colin à peine à seize ans” in G Major, H. 226: X. Variation 10 02:24:26 12 Variations on “Colin à peine à seize ans” in G Major, H. 226: XI. Variation 11 02:25:16 12 Variations on “Colin à peine à seize ans” in G Major, H. 226: XII. Variation 12

@RoseannePetersen

5 жыл бұрын

Thank you!

@Alix777.

4 жыл бұрын

Very rare pieces from the great CPE ! Thanks a lot BC

@MrEdelbitter

4 жыл бұрын

Take care, it's "Ich schlief, ..." (from 00:18:11). "Ich schleif" = I drag, raze, tear down, rub or scrape... ;-)

This great music!!! A worthy sequel to Bach, the father!

From such a Vater JS Bach. such Sohn!! CPE Bach!!!

This composition is absolutely beautiful! Unusual! I could listen, uninterrupted, for hours!

My favourite composer… Thank Brilliant Classic 👍

I am looking forward to his complete keyboard concertos collection.

Hermoso ..Bach ..es un músico excepcional ..su música maravillosa envuelve a la mente y le da color

He has clearly been an inspiration to Mozart - like his brother, "Londoner Bach".

How could someone dislike this?

@Lovethemusic385

5 жыл бұрын

It's the internet; they just do that no matter what. Mostly 12-year olds

@123meanderer

5 жыл бұрын

It's possible that they prefer the sound of concert grand piano to that of a forte piano. I know I do.

@MyGdoggy

5 жыл бұрын

Yeah the piano sounds funny@@123meanderer

@elaineblackhurst1509

5 жыл бұрын

skrzynior ...because CPE Bach is something of an acquired taste.

@ianlowery6014

2 жыл бұрын

Because they are unevolved, and essentially morons.

You will find the theme from 01:38:18 again in one of Leontzi Honauers sonatas for Clavicembalo. This drove me a little bit crazy until I found it again in this very upload, where I supposed to have heard the theme already. I'm glad to have found it again now. Look for OrlandoBBass channel if interested to go on a hunt ;-) Kind regards from a friend of our classical music treasure. Beloved CPE Bach (and Honauer and all our composers, as well!)

The tuning is fantastic.

Obrigado!!!!

Thank you! @Brilliant Classic @Andrea Coen

Are the graphics on the cover chosen because of the cymatic patterns relating to the music? Thanks!

😍😍😍

Let's hope this is the stuff!

Senza nulla togliere all'esecuzione del pianista ed alla gradevolezza dell'opera, (ho messo anche il like), certe opere hanno bisogno di essere interpretate dallo strumento originario.

@nicolapezzella1748

4 жыл бұрын

In che senso. Non furono progettate per clavicordo, come questo che è suonato?

@andreacoen7063

2 жыл бұрын

The instrument si a copy of a Silbermann...

A valuable collection, but not one to be taken all at one sitting. Generally speaking, these pieces were written in an easy style and for popular consumption; CPE wrote far more inspired keyboard music elsewhere.

@Ziad3195

Ай бұрын

Please give me recommendations of the "more inspired" CPE Bach keyboard music out there. I recently tried his Concerto for Tangent Piano in Gm and hated it as I did with all his solo keyboard and keyboard concerto music.

@elaineblackhurst1509

Ай бұрын

@@Ziad3195 It is important when listening to CPE Bach’s keyboard music to differentiate between what he himself described as his ‘private’ works (more difficult and inspired) and his ‘public’ works (easier and lighter, more galant). Wq 54 for example is a set of the latter being six sonatas ‘for the use of ladies’. Like most of his contemporaries, CPE had to make a living by supplementing his income by publishing more popular saleable works; both Mozart and Haydn sinned somewhat in this area of necessity also, Haydn in particular produced some of his most empty, routine, and uninspired music in the form of a few of his piano sonatas with little artistic integrity and intended for little other than easy sales (Hob. XVI:35-39). Once you understand this divide, it is easier to sort CPE Bach’s keyboard works, and I would suggest as a starting place: i) The six *’Prussian’ sonatas* of 1742, (Wq 48), and the six *’Wurtemburg’ sonatas* of 1744 (Wq 49). ii) The six collections published between 1779 and 1787 of *Sonatas, Rondos and Fantasias for Connoisseurs and Amateurs* (Wq 55 56 57 58 59 and 61). (Each set has six works). iii) The late single *Fantasia in f# minor* (Wq 67) of 1787. Hope yourself -or anyone else passing by finds this useful.

@Ziad3195

Ай бұрын

@@elaineblackhurst1509 okay, I will try these. Thank you.

@ww0yrr

Ай бұрын

Looking down one's nose can become so very tiresome.

@elaineblackhurst1509

Ай бұрын

@@ww0yrr Who do you believe is looking down who’s nose ?

I find his works for piano more appealing than those composed by his dad. They are much more melodic and less robotic. They are all well played by Andrea Coen.

@Ziad3195

Ай бұрын

CPE's style was not about melody. JS's style is much more melodic. CPE's style is more Dynamic.

@alindmay

13 күн бұрын

JS Bach composed no works for piano as it didnt exist.

@Ziad3195

13 күн бұрын

@@alindmay lots of keyboards existed including the fortepiano.

@alindmay

12 күн бұрын

@@Ziad3195 no sir... the first and very poor quality fortepianos arrived a few years before JS Bachs death. Bach tested some, including the best ones owned by the king in Potsdam court when JS Bach was invited there. JS Bach said to the king something like : the pianofortes have a bright future, but are not ready in the present to compete with the mature harpsichord and popular clavichord. Thats why JS Bach didnt compose for the piano at all, it just didnt exist. His sons CPE, WFB, and the London Bach, 30-40 years later, could choose, and sometimes composed for harpsichord, other times for the evolving fortepiano, depending on the situation. Piano started to be the better choice after 1800, when Schubert, Beethoven, Hummel and so many others made use of the better dynamics. Probably the piano expressivity helped for romanticism to evolve, as Brahms, Chopin, Liszt, Schumann developed around 1850. That was100 years after JS Bachs death.

el piano no pega ni con moco con CpBach

too much echo and and played false innocent