BACHs / Symphonies of the Bach-Family / Berliner Barock Solisten, Reinhard Goebel

1-3 Wilhelm Friedemann BACH Sinfonie D-Dur für Streicher und B.c. BR-WFB C Inc. 1*

4-6 Carl Philipp Emanuel BACH Sinfonie Es-Dur für Streicher und B.c. Wq/H deest*

7-9 Carl Philipp Emanuel BACH Sinfonie C-Dur für Streicher und B.c. Wq/H deest*

10-12 Carl Philipp Emanuel BACH Sinfonie e-Moll für Streicher und B.c. Wq 177

13-15 Johann Christoph BACH Sinfonie d-Moll für Streicher und B.c.

16-18 Johann Ernst BACH Sinfonie C-Dur für Streicher, 2 Fagotte und B.c. BR-JEB C 1*

19-21 Johann Ludwig BACH Konzert D-Dur für 2 Violinen, 2 Oboen, Streicher und B.c.

22 Johann Sebastian BACH Konzert für Violine, Streicher und Basso continuo Nr. 4 D-Dur BWV 1045 (Sinfonia)

Every generation creates its own forms of expression. Often, this happens in abrupt rejection of what has gone before. And not infrequently, the provocative gestures in which a new attitude to life is articulated disappear again just as quickly as they appeared. Such thoughts may also have moved Johann Sebastian Bach when, in the early 1 740s, his two eldest sons took up the genre of the symphony, which had come from Italy and was accompanied by a novel treatment of the orchestra and com positionaI technique. Together with their generationaI peers, they created an independent Iine of tradition that was Iater referred to by music historians as the ‘symphony of the North German school.’ The fact that the symphony did not remain a short-lived fashion, favoured by a handful of young savages, but advanced to become a genre that was soon considered the ‘acknowledged paramount form of instrumental music’, was one of the most significant and momentous musicaI achievements of the 18th century.