Cello Concerto No.1 in A minor (Wq170 / H432) - C.P.E. Bach

Academy for Early Music Berlin with Raphael Alpermann (harpsichord) and Peter Bruns (cello). I - Allegro assai: 0:00 II - Andante: 10:20 III - Allegro assai: 18:16 Bach's Cello Concerto No.1 was probably composed in 1750, while he was working in Berlin under the patronage of Prussian king Frederick the Great. It was later arranged for harpsichord and flute. It was probably written for court cellist Ignaz Mara, along the rest of the concertos. As with most of Bach's music, it follows the "sensitive style", with an emphasis on features such as extreme expressive contrasts with disruptive incursions, instability of key, sudden changes of register, dynamic contrast, and exciting orchestral effects. It is important to consider that, at the time these concertos were written, the cello was a recently created instrument. Only a handful of composers had written concertos for the instrument, most notably among them Vivaldi, who also established the ritornello form, which became the standard for mid-century German composers. It involves alternation of strong harmonically stable thematic statements by the full orchestra (ritornellos) with more fluid modulatory passages performed by the soloist with a light accompaniment (solos). Despite these cello concertos being historically important, virtuosic and musically rich, the fact they remain largely unknown is baffling to say the least. The first movement begins with a tempestuous and passionate ritornello, contrasted by a more elegiac and calm solo of the cello. A creative conflict between lyricism and turbulence ensues through the rest of the movement, developing the material exposed. A solo cadenza for the soloist, based on the opening arpeggio figure, then begins. A ritornello full of pauses (a reminiscence of J.S. Bach) ends the movement with energy. The second movement opens with a lyrical and gallant ritornello, taken and fleshed out by the cellist in the ensuing. A series of dialogues then continue, with flowing gallant melodies with forceful dotted rhythms, and is full of harmonic surprises which are more subtle than confronting. The soloist then takes on a new virtuosic cadenza, before the ritornello ends the movement. The third movement begins with a rhythmic ritornello of almost Romantic spirit, answered by the cello with passionate and expressive phrases. The dialogues between soloist and ensemble gradually become more virtuosic and conflicting, with brilliant exchanges in a fast-moving drama. A dramatic ritornello ends the work with force. Picture: "The Shipwreck" (1772) by the French painter Claude-Joseph Vernet. Musical analysis partially written by myself. Source: https://t.ly/r0ML4 To check the score: https://t.ly/hq1sj