C.P.E. Bach: Württemberg Sonatas Wq. 49 Bruno Procopio

• Carl Philipp Emanuel Bach (1714-1788): Sonata Ima en la mineur, H 30 (Berlin, 1742)
• 1 I. Moderato 07:18
• 2 II. Andante 03:28
• 3 III. Allegro assai 05:13
• Sonata IIda en la bémol majeur, H 31 (Berlin, 1742)
• 4 I. Un poco allegro 05:23
• 5 II. Adagio 04:02
• 6 III. Allegro 03:41
• Sonata IIIza en mi mineur, H 33 (Teplice, 1743)
• 7 I. Allegro 05:44
• 8 II. Adagio 03:48
• 9 III. Vivace 03:20
• Sonata IVta en si bémol majeur, H 32 (Berlin, 1742)
• 10 I. Un poco Allegro 06:08
• 11 II. Andante 04:13
• 12 III. Allegro 04:35
• Sonata Vta en mi bémol majeur, H 34 (Teplice, 1743)
• 13 I. Allegro 08:07
• 14 II. Adagio 04:14
• 15 III. Allegro assai 03:43
• Sonata VIsta en si mineur, H 36 (Berlin, 1744)
• 16 I. Moderato 09:59
• 17 II. Adagio non molto 04:10
• 18 III. Allegro 03:41
• Total Runtime 01:30:47

Info for C.P.E. Bach: Württemberg Sonatas Wq. 49

The truth of Musical Expression, According to Carl Philipp Emanuel Bach. A musician cannot move without being moved himself; it is indispensable that he himself feel the emotions he wishes to arouse in his audience; he must make them understand his own sensitivity to them to be able to share it. (III-13).

This final quotation is emblematic of Carl Philip Emanuel Bach; clearly his viewpoint went against that of his contemporary Denis Diderot, who held that actors must make the public feel emotions they do not feel, and therefore base their art on distancing. This would have been unthinkable for Bach, for whom sincerity was essential to convince and to move.

Although Baroque music is enjoying a renaissance of popularity – it floods the record business and concert halls – it is curious to observe that it still has difficulty emancipating itself from certain received ideas. The concept of “table music”, supposedly played in the background for an inattentive prince; musical works published by the dozen for dilettantes; thousands of opera seriathat we imagine as victims of the epoch’s vain ideas, and its public’s superficial taste… It has become difficult today to persuade oneself that works from the 18th century truly sought out expressive depth. All things considered, no composer is better suited to brush aside this erroneous vision than Carl Philipp Emanuel Bach.

Bruno Procopio, harpsichord

Bruno Procópio
is one of the most prominent young harpsichordists of his generation. His studies with celebrated French harpsichordists Pierre Hantaï and Christophe Rousset helped launch his career as a leading Baroque specialist in France, and beyond.

Born in Brazil in 1976, Mr Procópio’s exceptional talent brought him to France in 1994. He studied at the prestigious Paris Conservatory, and graduated in 2001 with first prizes in harpsichord and thorough bass.

Procópio founded the record label Paraty in 2007 to explore the rich repertoire of baroque and classical music on period instruments. In 2010, a Paraty CD was chosen as the “Album of the Year” at the Victoires de la Musique Classique, the most distinguished award in France. Paraty’s CDs are now distributed worldwide by Harmonia Mundi.

As a conductor, Bruno Procópio regularly conducts the Simón Bolívar Symphony Orchestra of Venezuela, with whom he recorded the album “Rameau in Caracas”. The CD was a tremendous critical success, earning the “CHOC” award of Classica Magazine and 5 stars from Diapason. It was also selected as “CD of the Week” by Le Figaro in France and Classic FM in the UK. In addition to his extensive work with the Simón Bolivar Symphony Orchestra, Procópio has conducted the Manaus Opera Orchestra in Brazil, Chile’s Catholic University Orchestra, and the Merida Symphony Orchestra. In 2012 Procópio made his début appearance at the Rio de Janeiro Opera, conducting the Brazilian Symphony Orchestra at the Teatro Municipal. The programme was the modern day premiere of Marcos Portugal’s L’Oro non compra amore.

Booklet for C.P.E. Bach: Württemberg Sonatas Wq. 49