Although Felix Mendelssohn was dubbed a musical child prodigy himself, he was very cautious about the merits of hollow virtuosity. Also about the piano repertoire he had some opinions of his own – Chopin’s works he appreciated as fine, but mannerist, Liszt’s admirable but rash, and Kalkbrenner’s oeuvre he felt was ‘an indigestable sausage’. On the other hand, Bach, Weber and Beethoven breathed life into his own compositions, not the least in his legendary Lieder ohne Worte.
Mendelssohn indeed published 36 instrumental songs in six collections between 1832 and 1945 – two volumes appeared posthumously. Where exactly he got the idea, remains uncertain; is this an adult version of his little game with his sister Fanny, when they invented texts nspired by piano music? Or are they thoroughbred songs that were stripped of their text afterwards? Whatever may be the case, Mendelssohn’s Lieder ohne Worte have inspired generations of composers and musicians. Including Ronald Brautigam, who will take you along on a period pianoforte from wordless to breathless ….

Performer
Ronald Brautigam, fortepiano

Programme
F. Mendelssohn: work for piano

02 March, 2014 14:00 -- AMUZ

For once the critics are of the same mind: Amandine Beyer is the violinist par excellence of the moment, and an absolute must-hear. With pianoforte specialist Eduardo Torbianelli she selected from the oeuvre of CPE Bach the sonatas that show the most fantasy and expressiveness. A touch of Viennese classicism or a dash of early romanticism are not excluded: this is a homage to Bach’s visionary genius!
Like father like son: after the violin sonatas and partitas of Johann Sebastian Bach in the previous season, the sonatas for violin and clavier by Carl Philipp Emanuel Bach can now be added to Beyer’s AMUZ record of achievements as well. Her sparkling and committed playing is the ideal match for this rich, surprising, imaginative oeuvre. Pianist and violinist each venture their own expressive capabilities, ideas and personalities, seduced as they are by this splendid music with its complex forms and ingenious counterpoint.

Performers
Amandine Beyer, violin | Edoardo Torbianelli, fortepiano

Programme
C.P.E. Bach: Violinsonata in b, Wq 76; Violinsonata in Bes, Wq 77; Violinsonata in c, Wq 78 a.o.

06 March, 2014 20:00 -- AMUZ

Period instruments and first-rate soloists are at the top of the priority list of Michael Willens’ Kölner Akademie. In this magnificent anniversary concert for CPE Bach all the stops are pulled out: with the hero of the feast in the spotlight, the programme features cello concertos and symphonies. Guest of honour Roel Dieltiens handles the bow.
The cello concertos of CPE Bach were originally written for the cello and were later arranged for flute and for his own instrument, the keyboard. The contrasts between major and minor, between cantabile fragments and hyperactive passages, soloist lyricism and orchestral energy, sound exceedingly poignant indeed. Congratulations, CPE!

Performers
Kölner Academie | Roel Dieltiens, cello | Michael Alexander Willens, artistic direction

Programme
C.P.E. Bach: Sinfonie in e, Wq 178; Celloconcerto in A, Wq 172; Sinfonie in F, Wq 181; Celloconcerto in a, Wq 170

07 March, 2014 20:00 -- AMUZ

The second son of the Thomas cantor was born under a lucky star, but anno 2014 he has to cope with his father’s heavy musical inheritance. Not so in the 18th century, when he was the most important and most appreciated composer of Germany, at least as highly esteemed as his father. He started his career at the court of Frederick the Great: the king with a passion for music who was pretty competent as a flautist himself. Small wonder that Bach during that period rearranged quite a few concertos as showpieces for the flute!
The master of the ‘sensitive style’ too demonstrates in these compositions his lyrical and expressive qualities, enabling the flautist to reveal the best of his talent. Bach’s breathtaking runs, dramatic statements, rhythmical lacework and emotional modulation are in safe hands with Barthold Kuijken – the world-famous traverso specialist, who joins forces with Il Fondamento to follow in the footsteps of CPE Bach and his illustrious patron.

Performers
Il Fondamento | Barthold Kuijken, traverso | Paul Dombrecht, artistic direction

Programme
GP Telemann, Suite in D TWV 55-D21 | C.Ph.E.Bach, Concerto voor Flute in re groot Wq 13 | CPE Bach, Sinfonia in Sol groot Wq 180, H655 | GP Telemann, Suite TWV 55 F3 in F major

08 March, 2014 20:00 -- AMUZ

Carl Philipp Emanuel Bach was perhaps the greatest historical performer on and composer for the clavichord. His ‘empfindsame Stil’ (sensitive style) was so eminently suitable for this instrument. Bach was praised by contemporaries first and foremost because of his nearly systematic exploration and use of the expressive qualities of the clavichord. Therefore this clavier repertoire will get pride of place during CPE•BACHinPRIMETIME. And who could
qualify better for this task than Miklós Spányi? Not only is he an acclaimed keyboard virtuoso, he is also considered the world authority par excellence as far as the clavier repertoire of PE Bach is concerned. The combination of Bach’s expressive melody shaping and Spányi’s technical flexibility casts a spell. There is no way to start your Sunday better.

Performer
Miklós Spányi, clavichord

Programme
C.P.E. Bach: work for clavier

09 March, 2014 10:00 -- AMUZ

CPE Bach’s ‘Empfindsamer Stil” was well-suited for the keyboard. But the recipe also worked for other instruments: the viol sonatas are examples of Bach’s brilliant symbiosis of technical mastery and melodic accuracy.
The three sonatas for viol and clavier that CPE Bach composed originated in an early phase of his career, when he was active as a keyboard player at the court of Frederick the Great. Addressee may have been Ludwig Christian Hesse – the viol player whom the music-loving emperor had hired for his court orchestra. Rinaldo Alessandrini and Paolo Pandolfo are a spunky team for this highly cultivated music of the Enlightenment.

Performers
Paolo Pandolfo, viol | Rinaldo Alessandrini, harpsichord

Programme
C.P.E. Bach: Sonata in C for viol and clavier, Wq 136; Suite for clavier, Wq 62/12; Sonata in D for viol and clavier, Wq 137 a.o.

09 March, 2014 14:00 -- AMUZ