On this entry in Naxos' Eighteenth Century Keyboard series, C.P.E. Bach: Sonatas and Rondos, young Austrian pianist Christopher Hinterhuber plays through a very well-chosen selection from J.S. Bach's "son number two's" staggering keyboard output on a modern piano. As C.P.E. Bach's music sounds more like Beethoven than it does his father's, or for that matter, any of his contemporaries, it works very well on a modern piano, and Hinterhuber does everything here considerable justice within a classical tempo, particularly Bach ...
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On this entry in Naxos' Eighteenth Century Keyboard series, C.P.E. Bach: Sonatas and Rondos, young Austrian pianist Christopher Hinterhuber plays through a very well-chosen selection from J.S. Bach's "son number two's" staggering keyboard output on a modern piano. As C.P.E. Bach's music sounds more like Beethoven than it does his father's, or for that matter, any of his contemporaries, it works very well on a modern piano, and Hinterhuber does everything here considerable justice within a classical tempo, particularly Bach's transparently expressive, yet manic-depressive Sonata in F sharp minor, Wq. 52/4. If there is any reservation to be had about these performances, it is that Hinterhuber does not take it out into a bit more of a romantic territory than he does. He is a tad cold, and this music seems to benefit from some measure of give and take -- just compare Glenn Gould's reading of the Sonata in A minor, Wq. 49/1 or, if you can find them on vinyl, Artur Balsam's radiant and sensitive readings of...
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