Carl Philipp Emanuel Bach, Johann Sebastian’s second surviving son, is a composer whose own achievements are overshadowed historically by his father’s tremendous legacy. His efforts to be recognized as an accomplished composer often were frustrated in his own lifetime, too: during nearly three decades of service to Frederick the Great, his frequent task was to accompany the royal in performances of flute works by the far less innovative Johann Joachim Quantz. However, C.P.E. is best remembered for his works and treatises for keyboard, and his credentials in that arena are amply supported in this presentation of six keyboard sonatas, the first three played on harpsichord and the rest on fortepiano.
Whether or not Emanuel Bach belongs among the truly great composers may remain a matter of debate, but keyboardist Carole Cerasi gives his music unquestionably sublime performances. Despite a Gramophone win in 1999 for her recording of Elizabeth Jacquet de La Guerre’s harpsichord suites (also on Metronome), this Swedish-born artist of Turkish-Sephardic parentage inexplicably remains a relative unknown. The care, due consideration, and sheer intelligence with which she imbues every note is a revelation. The third movement of the E minor harpsichord sonata is simply breathtaking, all thunder and lightning. By contrast, the works for fortepiano receive sweet and tender attention, a perfect demonstration of the differences in color and heft between the two instruments. The sound is quite animated, particularly in the harpsichord sonatas. I eagerly await more recordings from this exemplary artist.
