Composer: Carl Philipp Emanuel Bach
Performer: Tom Beghin
Number of Discs: 2
Format: FLAC (tracks)
Label: Evil Penguin Classic
Catalogue: EPRC0066
Release: 2024
Size: 2.82 GB
Recovery: +3%
Scan: yes
C.P.E. Bach: Sonatas with Varied Reprises, Wq. 50
CD 01
Sonata in F Major, Wq. 50/1
01. I. Allegretto
02. II. Largo
03. III. Vivace
Sonata in G Major, Wq. 50/2
04. I. Allegretto
05. II. Poco adagio
06. III. Allegro assai
Sonata in A Minor, Wq. 50/3
07. I. Presto
08. II. Largo
09. III. Allegro moderato ma innocentemente
Sonata in D Minor, Wq. 50/4
10. I. Allegretto grazioso
11. II. Adagio sostenuto
12. III. Allegro
Sonata in B-Flat Major, Wq. 50/5
13. I. Poco allegro
14. II. Allegretto
15. III. Tempo di minuetto
Sonata in C Minor, Wq. 50/6
16. Allegro moderato
CD 02
Sonata in F Major, Wq. 50/1
01. I. Allegretto (As published by Georg Ludwig Winter)
02. II. Largo (with additional post-1760 variants)
03. III. Vivace (As published by Georg Ludwig Winter)
Sonata in G Major, Wq. 50/2
04. I. Allegretto (As published by Georg Ludwig Winter)
05. II. Poco adagio (with additional post-1760 variants)
06. III. Allegro assai (As published by Georg Ludwig Winter)
Sonata in A Minor, Wq. 50/3
07. I. Presto (As published by Georg Ludwig Winter)
08. II. Largo (with additional post-1760 variants)
09. III. Allegro moderato ma innocentemente (with additional post-1760 variants)
Sonata in D Minor, Wq. 50/4
10. I. Allegretto grazioso (As published by Georg Ludwig Winter)
11. II. Adagio sostenuto (with additional post-1760 variants)
12. III. Allegro (with additional post-1760 variants)
Sonata in B-Flat Major, Wq. 50/5
13. I. Poco allegro (with additional post-1760 variants)
14. II. Larghetto (with additional post-1760 variants)
15. III. Tempo di minuetto (with additional post-1760 variants)
Sonata in C Minor, Wq. 50/6
16. Allegro moderato (As published by Georg Ludwig Winter)
Carl Philipp Emanuel Bach’s Sonatas with Varied Reprises (comp. 1758-9, publ. 1760) constituted a bold experiment. Spelling out every repeat, Bach applies to each the art of variation. Starting off as a service (“play this and you’ll sound as if you’re improvising”), the opus ends up a masterclass in variation. Tom Beghin, playing his own beloved clavichord, enacts the role of the keyboardist- composer who repeats himself, while never saying the same thing twice.
Tom Beghin has been at the forefront of a new generation of interpreters of 18th- and early 19th-century music.
His discography features Beethoven, Mozart, Haydn, Moscheles, C.P.E. Bach, Mendelssohn, Zelter, Schubert, and Clementi. He has published in journals such asKeyboard Perspectives,19th Century MusicandHaydn Studien, and in collections such asHaydn and His World,The Cambridge Companion to Haydn, orThe Oxford Handbook of Topic Theory. With classicist Sander Goldberg he editedHaydn and the Performance of Rhetoric, winner of the 2009 Ruth Solie Award from the American Musicological Society. In 2015 The University of Chicago Press published his monographThe Virtual Haydn: Paradox of a Twenty-First Century Keyboardist.
Recognized for his expertise in eighteenth-century music, he is frequently invited to give concerts, workshops and lectures throughout North America and Europe. In 2013 he inaugurated the first replica of Beethoven’s 1817 Broadwood piano at the Concertgebouw in Bruges and the Beethoven-Haus in Bonn, playing among others Beethoven’s “Hammerklavier” Sonata, Opus 106.