Cellist Guy Fishman releases a follow up to his critically acclaimed Vivaldi Concertos on Olde Focus with this recording of the concerti of C.P.E. Bach. Along with his colleagues from the Handel and Haydn Society, Fishman's performance underscores the angularity, unpredictability, and most of all unique creativity of this music by J.S. Bach's unconventional son.
Concerto for cello, strings, and basso continuo in A major, Wq. 172/H. 439
|02||II. Largo con sordino. Mesto|
II. Largo con sordino. Mesto
|03||III. Allegro assai|
III. Allegro assai
Concerto for cello, strings, and basso continuo in a minor, Wq. 170/H. 432
|04||I. Allegro assai|
I. Allegro assai
|06||III. Allegro assai|
III. Allegro assai
Concerto for cello, strings, and basso continuo in B-flat major, Wq. 171/H. 436
|09||III. Allegro assai|
III. Allegro assai
“A musician cannot hope to move the listener unless he himself is moved. He must of necessity feel all of the affects that he hopes to arouse in his audience, for the revealing of his own humour will stimulate a like humour in his listener."
Have there ever been words more germane to the central mission of all musicians than these? Written by Carl Philipp Emanuel Bach, they are found in his Versuch Ober die wahre Art das Clavier zu spielen ("Essay on the True Art of Keyboard Playing"), and though they are inscribed in a book seemingly aimed at the craft of playing an instrument, they reveal their author's true purpose to have been the art of making music, and the life-changing force he believed this endeavor to be.
During his time in Berlin he penned some of the most affecting and expressive music of the 18th century, including the three works on this recording. Take the Concerto in A major, for instance. The exuberance of the orchestral opening cannot be mistaken for anything other than pure joy in music-making, and hardly betrays its author's unhappy circumstances. Ample virtuosity evinces a complete understanding of the cello and sits well under the hand but is difficult enough that only a rare cellist dispatches it with a dry forehead. The soloist's use of material originating with the orchestra - and vice versa - hints at the absolute synergy amongst disparate parts that Emanuel must have learned from his only teacher, Johann Sebastian. This feature serves as fodder for an interplay between soloist and ensemble where one begins a thought and the other finishes it. It is found frequently in the Concerto in A minor, at times exciting, as in the third movement, and at others intimate, as in the single-note utterances in the second movement. The first movement is set like a drama, and reminds me of the similarity between music-making and acting, especially when Emanuel's exhortation to move the listener is observed.Read More
Bach composed cadenzas for all his concerti, but only for the harpsichord versions of these three. I've written my own cadenzas for each concerto, and I think Bach would have approved, if not of my modest efforts, then of my replacing his cadenzas with my own, as I believe most musicians of the period would have done.
What remains is consideration of that most representative of Emanuel's attributes, that which irked King Frederick so: the self- described "bold shift from one Affekt to another." For instance, in the remarkable slow movement of the Concerto in A major, Bach calls for mutes for the ensemble, setting the tone both figuratively and literally. To this he adds extreme dynamic shifts, from forte to piano and back, taking pains to notate his intentions precisely. In the Concerto in B-flat major Bach uses the outer movements to inch ever closer to classicism, using something that presages sonata-allegro form unlike the ritornello form used by his father and, indeed, in his own Concerto in A major. But in the slow movement one senses a struggle between the pre-classical Bach, writing solo entrances that use material presented by the orchestra and following a sensible modulation from minor to relative major and back, and the Bach of the empfindsamer Stil, the one aiming to affect the humours by composing jolting leaps and sudden dynamic changes. This music could only have been written by a composer who believed "that music must, first and foremost, stir the heart." It's hard to imagine Emanuel failing at his attempts to do just that.
– Guy Fishman
Guy Fishman principal cellist of the Handel Haydn Society, with which he made his Symphony Hall solo debut in 2005. He is in demand as an early music specialist in the United States and Europe, performing in recital with Dawn Upshaw, Mark Peskanov, Eliot Fisk, Richard Eggar, Lara St. John, Gil Kalish, and Kim Kashkashian, and with Arcadia Players, Querelle des Bouffons, Boston Baroque, Boulder Bach Festival, Apollo's Fire, Emmanuel Music, the Boston Museum Trio, Les Violons du Roy, and El Mundo, among others. He has toured with the Mark Morris Dance Group and Natalie Merchant, and has performed at the Aston Magna, Connecticut Early Music, Rockport, and Colorado Music festivals, as well as at the BBC Proms. His playing has been praised as "plangent" by the Boston Globe, "electrifying" by the New York Times, and "beautiful....noble" by the Boston Herald. The Boston Musical Intelligencer related that in a performance of Haydn's C-major concerto "..[I] heard greater depth in this work than I have in quite some time."
Mr. Fishman has recorded for the CORO, Telarc, Centaur, Titanic, and Newport Classics labels. His release of Vivaldi cello concerti with members of the Handel and Haydn Society (Olde Focus) was called "brilliant" by the Huffington Post and "a feast for the ears" by Early Music America. It was voted "Top 10 Releases of 2017" by WRTI in Philadelphia.
Mr. Fishman started playing the cello at age 12, and at 16 began his Baccalaureate studies with David Soyer. He subsequently worked with Peter Wiley, Julia Lichten, and Laurence Lesser, with whom he completed Doctoral studies. In addition, he is a Fulbright Fellow, having worked with famed Dutch cellist Anner Bylsma in Amsterdam. He plays a rare cello made in Rome in 1704 by David Tecchler.
Founded in Boston in 1815, the Handel and Haydn Society is internationally acclaimed for its performances and recordings of Baroque and Classical music. Under the leadership of Artistic Director Harry Christophers, H+H's Period Instrument Orchestra and Chorus delight more than 50,000 listeners each year at Symphony Hall and other leading venues in Boston. Through the Karen S. and George D. Levy Education Program, H+H also provides engaging, accessible, and broadly inclusive education to over 10,000 children each year through in-school music instruction and a Vocal Arts Program. Handelandhaydn.org