Concertos for Organ, Strings and B.c. E flat Major Wq 35
Allegro (6:42); Adagio sostenuto con sordini (9:22); Allegro (4:26)

and G Major Wq 34
Allegro di molto (10:27); Largo (8:08); Presto (5:31)

Pieces for Flute- and Harp-Clocks
Menuet G Major (0:46); Polonoise E fl at Major (0:55); "Presto for a musical clock" C Major (1:58); Minuetto F Major (1:01); March F Major (1:55); March D Major (1:38); Polonoise D Major (1:11);  Polonoise F Major (0:40); Polonoise A Major (0:37); A Major "for harp-clock" (1:22); C Major "for two flutes" (1:02); "for two clarinettes" C Major (1:48); A Minor "for harp-clock" (1:05);  E Major "for harp-clock" (2:01)

Total time 63:20

Jörg-Hannes Hahn, Organ
C. Ph. E. Bach Ensemble

This SACD is the last volume in the series of the complete organ works of CPhE Bach. Firstly recording the works for organ alone (C 58016 and C 58020), Jörg-Hannes Hahn now recorded at the original Migend-organ owned by his pupil Anna Amalie von Preußen in Berlin-Karlshorst the two organ concertos. With one exception, Carl Philipp Emanuel’s organ compositions do not make use of the pedal organ, and the two concertos are even expressly intended „per l’organo overo il cembalo concertato,“ that is to say, „for concertante organ or harpsichord.“ They are clearly conceived for clavier, based on the tonal transparency of the harpsichord. The stylistic change toward the early Classic, in which C.P.E Bach and his oeuvre played a significant role, is reflected here. In terms of style this meant dispensing with thoroughgoing polyphony in favor of homophonic texture, and breaking through the bass line, the basso continuo, that is to say, no longer considering and employing it as the foundation of the structure. The pedal organ, to which until then the bass line had usually been assigned, naturally became expendable as a result of this approach.In spite of the marginal importance of the organ works in C.P.E. Bach’s complete oeuvre, it pays to take a closer look at them, for the stylistic break with the fathers’ generation, the setting out for new musical horizons, can hardly be perceived and heard more clearly than in these finely fashioned virtuoso pieces. The G-Major Concerto was undoubtedly one of his most popular, as evidenced by many transcriptions and even a flute concerto version.