Episodes
| Series | Episode | Title | First Broadcast | Repeated | Comments |
|---|---|---|---|---|---|
| 2019 | 01 | Cpe Bach And The Nazi Hoard | 20190701 | 20220207 (R3) | This week we look at CPE Bach's music and reputation in the light of the sensational rediscovery of much his archive in 1999. Throughout the week we'll hear recent recordings of this 'new' music. In this episode, Donald Macleod tells the story of the loss - and eventual rediscovery in 1999 - of much of CPE Bach's music, following a fascinating journey. From 1750, for the next 60 years the name 'Bach' was almost exclusively associated with the initials 'CPE'. Born in 1714, Carl Philipp Emanuel's influence resonates to this day: his book on keyboard playing permanently changed the practice; his music changed the direction of travel. Bach left his life's work tidy and well organised on his death in 1788, with most works still in print. His estate was largely sold to Felix Mendelssohn's father Abraham, but by the 1800s CPE Bach's music had all but disappeared. The collection of CPE Bach manuscripts found its way into the library of the Sing-Akademie in Berlin, one of the most prestigious performing institutions in the Prussian capital, closely associated with the royal court. This was the finest collection of Bach family manuscripts in the world. In the face of Allied bombing in 1943, the Sing-Akademie was one of over 500 mostly private collections from the Berlin area to be evacuated. It was carefully packaged up into 14 crates and sent to a remote castle in Silesia, in present-day Poland. As the war ended, the collection was found by the Red Army, and disappeared from public view for the next 50 years. L'Aly Rupalich, Wq 117 No 27 Ana-Marija Markovina, piano Keyboard Concerto in D minor, Wq 23 Michael Rische, piano Leipzig Kammerorchester Morten Schuldt-Jensen, conductor Heilig, Wq 217 Hilke Helling, contralto Rheinische Kantorei Das Kleine Konzert Hermann Max, conductor Flute Concerto in D major, Wq 13 Il Gardellino Produced by Iain Chambers for BBC Wales Donald Macleod tells the story of the loss - and later rediscovery - of CPE Bach's music. |
| 2019 | 02 | A Very Modern Composer | 20190702 | 20220208 (R3) | This week we look at CPE Bach's music and reputation in the light of the sensational rediscovery of much his archive in 1999. Throughout the week we'll hear recent recordings of this 'new' music. In this episode, Donald Macleod explores contemporary angles within CPE Bach's life and music, as well as his life at court in Berlin. Carl Philipp Emanuel Bach was many things in his lifetime: composer, virtuoso harpsichord player and improviser extraordinaire, author, businessman - publishing his own music - biographer - of his father and other members of his family, and teacher. As the growing amateur tradition of music making among the middle classes required pieces that were playable domestically, Bach was quick to appreciate the potential for him to fill the gap. Publishing rivalled composition and performance for importance in his professional life. Much like musicians using crowd-funding sites today, Bach introduced a subscription system for his fans, in which each work's printing and distribution was financed by prepublication sales. Haydn, Mozart, Weber and Beethoven all studied Bach's Essay on keyboard playing attentively. It's a practical guide for performers, with chapters on ornamentation, performance and improvisation. Solfeggio in C Minor, Wq 117 No 2 Ana-Marija Markovina, piano Free Fantasie in F sharp minor, Wq 67 Andreas Staier, fortepiano Licht der Welt, von Gott gegeben, H 811 (Ehre sei Gott in der H怀he) Jan Kobow, tenor Himlische Cantorey Les Amis de Philippe Ludger R退my, conductor Rondo II in D Minor, Wq 61 No 4 Christine Schornsheim, clavichord Flute Sonata in A minor, Wq 132 Emanuel Pahud Eugen Cicero, piano Produced by Iain Chambers for BBC Wales Donald Macleod explores contemporary angles on CPE Bach's life and music. |
| 2019 | 03 | The Sentimental Style | 20190703 | 20220209 (R3) | This week we look at CPE Bach's music and reputation in the light of the sensational rediscovery of much his archive in 1999. Throughout the week we'll hear recent recordings of this 'new' music. In this episode, Donald Macleod explores the sound of CPE Bach's music, written in the 'Empfindsamer Stil'. Carl Philipp Emanuel Bach's music sits somewhere between the high baroque of his father, JS Bach, and the stripping back of ornamentation by Haydn and Mozart. It's often described using the German word for sensitive or sentimental, 'Empfindsam'. The Empfindsamer style aimed to express true and natural' feelings, in contrast to the baroque, and drew on a very wide range of cultural influences: poets, painters, philosophers and writers, in particular Laurence Sterne, whose Sentimental Journey was translated into German as Empfindsame Reise. All of that is far from the almost exclusively theological focus of JS Bach. For Carl Philipp Emanuel, music wasn't about technical brilliance, but all about stirring the emotions of the listener. Bach believed that music should reflect human nature, and hold up a mirror to the emotional world of man. The emotions should be stirred, and this should have a cathartic effect. Symphony in D Major, Wq 183 No 1 Marek Toporowski, continuo Solamente Naturali Didier Talpain, conductor Fantasia No. 2 in C Major, Wq 59 No 6 Christine Schornsheim, clavichord Wer ist so würdig als du; Ach, ruft mich einst zu seinen Freuden, H 805 (Nun danket alle Gott) Jan Kobow, tenor Himlische Cantorey Les Amis de Philippe Ludger R退my, conductor Sonata in C Minor, Wq 78 Laurent Albrecht Breuninger, violin Piet Kuijken, fortepiano Morgengesang am Sch怀pfungsfeste, W 239 Barbara Schlick, soprano Johanna Koslowsky, soprano Rheinische Kantorei Das Kleine Konzert Hermann Max, conductor Produced by Iain Chambers for BBC Wales Donald Macleod explores the sound of CPE Bach's music, written in the Empfindsamer Stil. |
| 2019 | 04 | Reinvention In Hamburg | 20190704 | 20220210 (R3) | This week we look at how CPE Bach's music and reputation in the light of the sensational rediscovery of much his archive in 1999. Throughout the week we'll hear recent recordings of this 'new' music. In this episode, Donald Macleod explores CPE Bach's time in Hamburg, freed from the court of Frederick the Great, and embarking on a huge amount of vocal writing. Carl Philipp Emanuel Bach had felt constrained by court life, and never appreciated by the king. On the death of his godfather Telemann, Bach secured the plum job of Kapelmeister in Hamburg. In his new Hamburg post he had to compose at least one new sacred work every week to satisfy the demands of the city's churches. Bach soon found himself with a large circle of friends, of the kind that he had had in Berlin, including preachers, university professors, and writers and poets - among them the poets Gotthold Lessing and Friedrich Klopstock. In Hamburg, Bach found the time for the extracurricular composing he had always wanted to do. Magnificat anima mea Dominum, Et misericordia eius, Gloria Patri et Filio, Sicut erat in principio (Magnificat, Wq 215) RIAS Kammerchor Akademie für Alte Musik Berlin Hans-Christoph Rademann, conductor Quartet in D Major, Wq 94 Nicholas McGegan, flute Catherine Mackintosh, viola Anthony Pleeth, cello Christopher Hogwood, fortepiano Rondo in A minor Wq 56 No 5 Christine Schornsheim, clavichord Gott f䀀hret auf mit Jauchzen, Wq 240 (Die Auferstehung und Himmelfahrt Jesu) Rheinische Kantorei Das Kleine Konzert Hermann Max, conductor Produced by Iain Chambers for BBC Wales Donald Macleod explores CPE Bach's time in Hamburg and his prolific vocal writing. |
| 2019 | 05 LAST | A Bid For Posterity | 20190705 | 20220211 (R3) | This week we look at CPE Bach's music and reputation in the light of the sensational rediscovery of much his archive in 1999. Throughout the week we'll hear recent recordings of this 'new' music. In this episode, Donald Macleod relives the once-in-a-lifetime moment when the first manuscript was drawn out of a crate in Kiev to reveal the stamp 'Sing-Akademie zu Berlin', and the magnitude of the treasure trove was revealed. He explores how the discovery has changed the way Bach and his music is seen in 2019. The collection of Bach family manuscripts was thought destroyed or irretrievably lost. But in the late 1950s, a few choir books from the Sing-Akademie were returned from Moscow to East Berlin, suggesting the collection may have found its way to Moscow. Eventually a retired librarian in Kiev revealed that restricted music deposits at the Kiev Conservatoire had been transferred to another institution in Ukraine in 1973. Finally, the music was traced to the Archive-Museum of Literature and Art in Kiev. The excitement of the discovery spread around the world - the music historian and Bach biographer Christoph Wolff said, `All of a sudden you understand the creative mind of a great composer. As an historian, I would have to say this was clearly a once-in-a-lifetime experience. I don't think it will happen again. There is no other collection of that magnitude and that importance around.` Leite mich nach deinem Willen, H 835 Himlische Cantorey Les Amis de Philippe Ludger R退my, conductor Cello Concerto in A major, Wq 172 (2nd mvt) Raphael Wallfisch Scottish Ensemble Jonathan Morton, conductor Symphony in B minor, Wq 182 No 5 Orchestra of the Age of Enlightenment Rebecca Miller, conductor Sonata in C major, Wq 55 No 1 (Für Kenner und Liebhaber) Gabor Antalffy, harpsichord Double Concerto for harpsichord and fortepiano in E Flat major, Wq 47 Michael Behringer, harpsichord Christine Schornsheim, fortepiano Freiburger Barockorchester Gottfried von der Goltz, conductor Produced by Iain Chambers for BBC Wales Donald Macleod relives the historic moment when the Sing-Akademie was rediscovered in 1999 |
| 2024 | 01 | Family Ties | 20240506 | Donald Macleod examines what CPE Bach has to tell us about his family, whose musical credentials reached back seven generations. In 1773, Carl Philipp Emanuel Bach sat down to record his life story. He'd been asked to write it down for a new book on German music and it made him one of the first composers to produce an autobiography. This week, Donald Macleod follows the composer's story, using Bach's own account as his guide. Bach's words provide fascinating insights into the things he considered most important but it's possible that what he chose to leave out is even more revealing. Today, CPE Bach introduces us to his illustrious father, the great Johann Sebastian Bach, and reveals how their home in Leipzig became a Mecca for visiting musicians. But why did Bach make no mention of his musically talented siblings? L'Aly Rupalich, Wq 117 No 27 Marc-André Hamelin, piano Symphony for Strings and Continuo in G major, Wq 182 No 1 Berlin Barock Solisten, directed by Reinhard Goebel Fantasia for keyboard in C major, Wq 61 No 6 Trio Sonata in B minor, Wq 143 Christian Delafontaine, flute Friedmann Sarnau, violin Philippe Mermoud, cello Michel Jordan, harpsichord Keyboard Concerto in G major, Wq 3 Pieter-Jan Belder, harpsichord and director Musica Amphion Donald Macleod examines what Bach has to tell us about his musical family and upbringing. | |
| 2024 | 02 | Royal Favours | 20240507 | Bach finds his new boss loves music but not musicians. With Donald Macleod. In 1773, Carl Philipp Emanuel Bach sat down to record his life story. He'd been asked to write it down for a new book on German music and it made him one of the first composers to produce an autobiography. This week, Donald Macleod follows the composer's story, using Bach's own account as his guide. Bach's words provide fascinating insights into the things he considered most important but it's possible that what he chose to leave out is even more revealing. Today, Donald follows CPE Bach to Berlin, where he's apparently been head-hunted for a prestigious position working for King Frederick the Great. Bach's autobiography sums up his next three decades at the Prussian court in just a few, terse sentences and Donald wonders if this points to a growing frustration with his duties there. Symphony in G major, Wq 173: I. Allegro assai Akademie fur Alte Musik Berlin, directed by Raphael Alpermann Trio Sonata in A Minor, Wq 148 Infusion Baroque Sonata in A minor, Wq 132: I. Poco Adagio Ashley Solomon, flute Florilegium Cello Concerto No 3 in A major, Wq 172: II. Largo con sordini, mesto & III. Allegro assai Hidemi Suzuki, cello, direction Bach Collegium Japan Sonata in E minor, Wq 49 No 3 Mahan Esfahani, harpsichord Bach finds his new boss loves music but not musicians. Presented by Donald Macleod. Donald Macleod follows CPE Bach to Berlin, where he's apparently been headhunted for a prestigious position working for King Frederick the Great. | |
| 2024 | 03 | Escape From Berlin | 20240508 | Bach makes plans to give up his job as the King's personal accompanist. How will his boss respond? In 1773, Carl Philipp Emanuel Bach sat down to record his life story. He'd been asked to write it down for a new book on German music and it made him one of the first composers to produce an autobiography. This week, Donald Macleod follows the composer's story, using Bach's own account as his guide. Bach's words provide fascinating insights into the things he considered most important but it's possible that what he chose to leave out is even more revealing. Today, CPE Bach gets on his soapbox about a worrying trend which he feels is polluting musical tastes in Berlin. He also relates a critical turning point in his own career. Donald investigates the real story behind Bach's carefully chosen words. Magnificat in D, Wq 215: 1. Magnificat anima mea Dominum; V. Fecit potentiam; X. Sicut erat in principio Matthias Vieweg, baritone Kölner Akademie Kölner Akademie Choir; directed by Michael Alexander Willens Keyboard Sonata in E flat major, Wq 52 No 1: II. Adagio assai, III. Presto Danny Driver, piano Sonata in C minor ‘Sanguineus and Melancholicus' Wq 161 No 1 Members of Pulcinella Orchestra Ophelie Gaillard, cello & director Phyllis and Thirsis, Wq 232 Rosmarie Hofmann, soprano Nigel Rogers, tenor Hans-Martin Linde, flute Christophe Huntgeburth, flute Pheobe Carrai, cello Rolf Junghanns, harpsichord Bach makes plans to give up his job. How will his boss respond? With Donald Macleod. Bach makes plans to give up his job as the King's personal accompanist. How will his boss respond? Presented by Donald Macleod. | |
| 2024 | 04 | A Home In Hamburg | 20240509 | After three decades working the same job, Bach moves to new city and makes a fresh start. In 1773, Carl Philipp Emanuel Bach sat down to record his life story. He'd been asked to write it down for a new book on German music and it made him one of the first composers to produce an autobiography. This week, Donald Macleod follows the composer's story, using Bach's own account as his guide. Bach's words provide fascinating insights into the things he considered most important but it's possible that what he chose to leave out is even more revealing. CPE Bach's extensive catalogue of published works occupies fully half the pages of his autobiography. Today, we discover how publishing became both a lucrative business and an essential creative outlet for Bach. Plus, Donald looks at Bach's growing social circle as he sets up a home in a new city. Sinfonia in B-Flat Major, Wq 182 No 2: III. Presto Ostrobothnian Chamber Orchestra, directed by Sakari Oramo 30 Geistliche Gesänge mit Melodien, Book 2, Wq 198: No 2, Versicherung der Seligkeit, No 8, Trost der Auferstehung Bettina Pahn, soprano Tini Mathot, fortepiano Die Israeliten in der Wüste, Wq 238 (extract from Part 1) Joanne Lunn, soprano Judith Gauthier, soprano Tobias Berndt, bass Barockorchester Stuttgart Kammerchor Stuttgart, conducted by Frieder Bernius Symphony in B minor, Wq 182 No 5 Orchestra of the 18th Century, directed by Alexander Janiczek Rondo in E Major, Wq 58 No 3 Rondo in F Major, Wq 57 No 5 Pierre Goy, fortepiano After thirty years in the same job, Bach makes a fresh start. With Donald Macleod. After three decades working the same job, Bach moves to new city and makes a fresh start. Presented by Donald Macleod. | |
| 2024 | 05 LAST | Intimations Of Immortality | 20240510 | Bach takes his music critics to task and considers how he might be remembered. In 1773, Carl Philipp Emanuel Bach sat down to record his life story. He'd been asked to write it down for a new book on German music and it made him one of the first composers to produce an autobiography. This week, Donald Macleod follows the composer's story, using Bach's own account as his guide. Bach's words provide fascinating insights into the things he considered most important but it's possible that what he chose to leave out is even more revealing. Today, we find CPE Bach in reflective mode, sharing some thoughts on his own music and those who would criticise it! Donald looks at how Bach's autobiography might have set the composer thinking about his legacy and his enduring place in music history. Sonata in D Minor, Wq 57 No 4: II. Cantabile e mesto Pierre Goy, clavichord Quartet in G Major, Wq 95: III. Presto Nevermind Heilig, Wq 217 Jess Dandy, contralto The Dunedin Consort, directed by John Butt Keyboard Sonatina in D Major, Wq 109 Miklós Spányi, harpsichord Cristiano Holtz, harpsichord Concerto Armonico, directed by Péter Szüts Freye Fantasie in F sharp minor, Wq 80 Tamsin Waley-Cohen, violin James Baillieu, piano Bach takes his music critics to task and considers his legacy. With Donald Macleod. Bach takes his music critics to task and considers how he might be remembered. Presented by Donald Macleod. |