– J. S. Bach: Konzert C-Dur, BWV 1061 – C. P. E. Bach: Konzert Es-Dur, Wq 47 – W. A. Mozart: Sinfonie C-Dur, KV 551
Malcolm Bilson (harpsichord, grand piano forte), Academy of Ancient Music, direction: Richard Egarr (harpsichord)
Like father like son? This is what we might well shout on hearing the dazzling virtuosity and jubilant tone of the two double concertos by J. S. and C. P. E. Bach. The father composed BWV 1061 for two harpsichords in the early 1730s – perhaps with a view to a performance to impress in the Collegium musicum by his two eldest sons. C. P. E. Bach returned to this model half a century later, demonstrating at the same, in this contest between a harpsichord and pianoforte, a chapter from the history of musical instruments – a sometimes impertinent, sometimes melancholy-sounding swan song, composed just a few months before his death. »He is the father, we are the sons,« said Mozart reverentially of C. P. E. Bach. Not much of this influence is to be heard in Mozart’s last symphony. However, there is no mistaking that Mozart’s earlier interest in the fugues of the elder Bach also shaped the style of his late works – namely, the final movement of the Jupiter Symphony. With this, he not only created a »swan song« in which »love and melancholy sound« (E. T. A. Hoffmann), but also a summary of the compositional achievements of an entire century.