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C.P.E. Bach: The Solo Keyboard Music Vol. 41: Keyboard Transcriptions II

Carl Philip Emanuel Bach

I. Allegro assai

Polonoise in E-Flat Major, Wq. 116 No. 44, H. 318 (Arr. for Keyboard by Anonymous)

II. Andante

III. Allegro

Allegro ma non troppo in E-Flat Major, Wq. 116 No. 52, H. 326 (Arr. for Keyboard by Anonymous)

March in F Major, Wq. 116 No. 45, H. 319 (Arr. for Keyboard by Anonymous)

Menuet in G Major, Wq. 116 No. 48, H. 322 (Arr. for Keyboard by Anonymous)

6 Harpsichord Concertos, Wq. 43, No. 2 in D Major, H. 472 (Version for Solo Keyboard) : I. Allegro di molto

6 Harpsichord Concertos, Wq. 43, No. 2 in D Major, H. 472 (Version for Solo Keyboard) : II. Andante

6 Harpsichord Concertos, Wq. 43, No. 2 in D Major, H. 472 (Version for Solo Keyboard) : III. Allegretto

Allegro in E Major, Wq. 116 No. 37, H. 311 (Arr. for Keyboard by Anonymous)

Menuet in F Major, Wq. 116 No. 32, H. 306 (Arr. for Keyboard by Anonymous)

6 Harpsichord Concertos, Wq. 43, No. 3 in E-Flat Major, H. 473 (Version for Solo Keyboard) : I. Allegro

6 Harpsichord Concertos, Wq. 43, No. 3 in E-Flat Major, H. 473 (Version for Solo Keyboard) : II. Larghetto

6 Harpsichord Concertos, Wq. 43, No. 3 in E-Flat Major, H. 473 (Version for Solo Keyboard) : III. Presto

Menuet in G Major, Wq. 116 No. 30, H. 304 (Arr. for Keyboard by Anonymous)

I. Prestissimo

II. Larghetto

III. Presto

C.P.E. Bach: The Solo Keyboard Music, Vol. 42: Keyboard Transcriptions III

C.P.E. Bach: 6 Harpsichord Concertos, Wq. 43: No. 1 in F Major, H. 471 (Version for Solo Keyboard): III. Prestissimo

Johann Jacob Heinrich Westphal

C.P.E. Bach: Solo Keyboard Music, Vol. 40

这张专辑完整呈现了卡尔·菲利普·埃马努埃尔·巴赫的各种键盘作品集 (Clavierstücke verschiedener Art)，仅有三首声乐与键盘歌曲除外。这部作品集是巴赫所有出版物中体裁最为多样化的，涵盖了多乐章体裁、自由幻想曲、严谨赋格，以及各种难度不一的短小音乐小品。这种多样性表明，巴赫不希望他的键盘作品被严格划分为“轻快”与“严肃”两类。他同时希望展示键盘作品创作和演奏的广泛技巧：在交响曲和协奏曲中展现管弦乐式的写法，在奏鸣曲中运用二部织体，在赋格中体现复调，以及在幻想曲和视唱练耳曲中呈现自由而炫技的创作。

为了在录制这部作品集时也呈现类似的多样性，奥托 · 温特选择使用一架仿照安特卫普制琴师约阿内斯·丹尼尔·杜尔肯（Joannes Daniel Dulcken）风格制作的羽管键琴来演奏这些作品。在这架能提供广泛音色组合可能性的双排键盘羽管键琴上，温特还加装了一个“音量渐变装置”，以便于实现快速的力度变化。这使得在C大调协奏曲中，管弦乐与独奏织体之间的对比得以凸显，同时也能突显对比鲜明的小步舞曲对中不同的性格特征。

C.P.E. Bach: The Solo Keyboard Music Vol. 41: Keyboard Transcriptions II

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