Like the classical solo sonata, the piano trio and piano quartet evolved from the so-called 'accompanied' piano sonata, in fact a work for a solo keyboard instrument (pianoforte, harpsichord or clavichord) with ad-libitum parts for one or more other instruments. Gradually, however, these parts got more and more their own identity and composers completely separated them from the keyboard part. The
… "Quartets Wq.93-95" by Carl Philipp Emanuel Bach (1714-1788) included here are in this respect on the border of these two manifestations. Carl Philipp indicated that they were written for keyboard, flute and viola and bass. The neutral designation of the last part still refers to the old basso continuo tradition, but the other parts do not always strictly follow the keyboard part. These three very beautiful chamber music works are performed here by Phillipe Allain-Dupré (flute), Jean-Philippe Vasseur (viola), Antoine Ladrette (cello) and Laure Colladant (pianoforte). The latter plays a late 18th-century pianoforte, on which he also plays three solo pieces, all three of which have a clear autobiographical connotation. In addition to the "Rondo 'Freude über den Ampfang des Silbermannschen Clavier'" and its counterpart, the "Rondo Wq.66 'Abschied vom Silbermannschen Clavier'", the "Fantasie Wq.67 'CPE Bachs Emfindungen'", perhaps one of the most intriguing musical self-portraits ever written. (JvG) _ The latter plays a late 18th-century pianoforte, on which he also plays three solo pieces, all three of which have a clear autobiographical connotation. In addition to the "Rondo 'Freude über den Ampfang des Silbermannschen Clavier'" and its counterpart, the "Rondo Wq.66 'Abschied vom Silbermannschen Clavier'", the "Fantasie Wq.67 'CPE Bachs Emfindungen'", perhaps one of the most intriguing musical self-portraits ever written. (JvG) _ The latter plays a late 18th-century pianoforte, on which he also plays three solo pieces, all three of which have a clear autobiographical connotation. In addition to the "Rondo 'Freude über den Ampfang des Silbermannschen Clavier'" and its counterpart, the "Rondo Wq.66 'Abschied vom Silbermannschen Clavier'", the "Fantasie Wq.67 'CPE Bachs Emfindungen'", perhaps one of the most intriguing musical self-portraits ever written. (JvG) _more
