C.P.E. Bach: "Beyond the Limits" Complete Symphonies for Strings and Continuo Amandine Beyer & Gli incogniti

• Carl Philipp Emanuel Bach (1714 - 1788): Sinfonia in G Major, H. 657, Wq. 182/1:
• 1 Sinfonia in G Major, H. 657, Wq. 182/1: I. Allegro di molto 03:14
• 2 Sinfonia in G Major, H. 657, Wq. 182/1: II. Poco adagio 03:16
• 3 Sinfonia in G Major, H. 657, Wq. 182/1: III. Presto 03:43
• Sinfonia in E Major, H. 662, Wq. 182/6:
• 4 Sinfonia in E Major, H. 662, Wq. 182/6: I. Allegro di molto 02:08
• 5 Sinfonia in E Major, H. 662, Wq. 182/6: II. Poco andante 02:50
• 6 Sinfonia in E Major, H. 662, Wq. 182/6: III. Allegro spirituoso 03:36
• Sinfonia in B Minor, H. 661, Wq. 182/5:
• 7 Sinfonia in B Minor, H. 661, Wq. 182/5: I. Allegretto 03:55
• 8 Sinfonia in B Minor, H. 661, Wq. 182/5: II. Larghetto 02:28
• 9 Sinfonia in B Minor, H. 661, Wq. 182/5: III. Presto 03:32
• Sinfonia in A Major, H. 660, Wq. 182/4:
• 10 Sinfonia in A Major, H. 660, Wq. 182/4: I. Allegro ma non troppo 04:14
• 11 Sinfonia in A Major, H. 660, Wq. 182/4: II. Largo ed innocentemente 03:07
• 12 Sinfonia in A Major, H. 660, Wq. 182/4: III. Allegro assai 04:07
• Sinfonia in C Major, H. 659, Wq. 182/3:
• 13 Sinfonia in C Major, H. 659, Wq. 182/3: I. Allegro assai 02:23
• 14 Sinfonia in C Major, H. 659, Wq. 182/3: II. Adagio 02:45
• 15 Sinfonia in C Major, H. 659, Wq. 182/3: III. Allegretto 04:53
• Sinfonia in E Minor, H. 652, Wq. 177:
• 16 Sinfonia in E Minor, H. 652, Wq. 177: I. Allegro assai 03:49
• 17 Sinfonia in E Minor, H. 652, Wq. 177: II. Andante moderato 03:06
• 18 Sinfonia in E Minor, H. 652, Wq. 177: III. Allegro 03:24
• Sinfonia in B-Flat Major, H. 658, Wq. 182/2:
• 19 Sinfonia in B-Flat Major, H. 658, Wq. 182/2: I. Allegro di molto 03:07
• 20 Sinfonia in B-Flat Major, H. 658, Wq. 182/2: II. Poco adagio 02:56
• 21 Sinfonia in B-Flat Major, H. 658, Wq. 182/2: III. Presto 04:29
• Total Runtime 01:11:02

Info zu C.P.E. Bach: "Beyond the Limits" Complete Symphonies for Strings and Continuo

With these six symphonies dedicated to Baron van Swieten, Carl Philipp Emanuel Bach multiplied the most advanced outbursts of instrumental and expressive genius. Entirely devoid of sentimentality and gratuitous extravagance alike, they open the doors to both Viennese Classicism and its immediate successor: Romanticism! It was only natural that, after tackling Haydn and the Esterházy princes, Amandine Beyer and Gli Incogniti should investigate this repertory in which, once again, aristocratic patronage lay at the heart of musical creation.

Amandine Beyer, violin, direction
Gli incogniti

Amandine Beyer
Since some years ago, Amandine Beyer is recognized as a reference in the interpretation of the baroque violin repertoire. Her recording of the Sonatas & Partitas by J. S. Bach in 2012, has been awarded the best international critics (Diapason d’or de l’année, Choc de Classica de l’année, Editor’s choice de Gramophone, Prix Academie Charles Cros, Excepcional de Scherzo....). The work in this masterpiece is being continued with the performance "Partita 2", choreographed and danced by Anne Theresa de Keersmaeker and Boris Charmatz.

She plays regularly in the most important halls and festivals worldwide (Théatre du Chatelet, Festival de Sablé, Innsbruck Festwochen, Konzerthaus de Viena...). She shares her time between between different music ensembles were she takes part off : les Cornets Noirs, the duos with Pierre Hantai, Kristian Bezuidenhout or Laurance Beyer and her own ensemble: Gli Incogniti (their CD's devoted to Vivaldi's Four Seasons and Corelli's Concerti Grossi have been welcomed by the international critic as new highlights in the performance of this repertoire).

Her other passion is teaching, giving lessons at the ESMAE of Porto (Portugal), as well as masterclasses worldwide (France, Taiwan, Brasil, Italy, Spain, USA, Canada). Since 2010 she teachs baroque violin at the Schola Cantorum Basiliensis in Switzerland.

Gli Incogniti
was founded in 2006 by a group of friends, brought together by the violinist Amandine Beyer. It is named after the Accademia degli Incogniti, an artistic and academic circle that was amongst the most active and libertarian of 17th century Venice. The spirit of this Accademia is indeed what drives the Incogniti today: a taste for the unknown in all its forms, for sound experimentation, research for new repertoire, for rediscovery of the “classics” and of lesser-known masterpieces.

The genuine pleasure they take in rehearsing and playing together meets their core ambition – to transmit a committed and coherent vision of the pieces they perform, connected to their combined sensitivities and personal preferences. The group now ranks among the top reference ensembles for historically informed performance, exploring a repertoire from baroque (Vivaldi, Bach, Pachelbel) to classic with Haydn, CPE Bach or even Mozart.

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