C.P.E. Bach: Symphony in G Major, Presto. Voices of Music, period instruments Wq182/1 (8K video)

The freewheeling Presto from CPE Bach's Symphony in G Major, performed on period instruments by the award winning Early Music ensemble Voices of Music. In both style and form, CPE pays homage to Sebastian Bach's fleet third movement of the third Brandenburg concerto.
In the 1770s, C.P.E. Bach was a magisterial presence in music composition across Europe. From a prestigious post as director of sacred music in the city of Hamburg, he cultivated an interdisciplinary circle of friends that included philosophers, mathematicians, and the English critic Charles Burney, who also heard Mozart and Sirmen perform in this period. Bach wrote his six Symphonies (Wq. 182) at the request of one of these friends, Baron van Swieten, the Austrian ambassador to Prussia and a passionate lover of music. According to mutual acquaintance Johann Friedrich Reichardt, van Swieten essentially gave Bach carte blanche with these works, and the composer “was to indulge himself as much as he wanted without paying any heed to the difficulties this might create in performance.” The result was a collection of pieces that, in Reichardt’s estimation, boasted a “great variety and novelty of form and modulation.”
Certainly, variety and novelty are in no short supply in this magnificent work. As is typical of the style that C.P.E. Bach had been honing for decades, the skittering opening movement careens from extroverted flashiness to moody shadow at the drop of a hat. The second movement ticks along like a clock, although frequent harmonic shifts and punctuations of silence keep things from ever settling into staid predictability. Such harmonic instability continues into the rollicking finale, a presto in which rocketing scales in the violins are offset by moments of unison gravitas. (Sophie Benn, Ph.D.)
Voices of Music Classical Orchestra
Hanneke van Proosdij, director& keyboard
First violins Elizabeth Blumenstock, Aniela Eddy,
Augusta McKay Lodge** & Shelby Yamin
Second violins Lisa Grodin, Kati Kyme* & Linda Quan
Violas Maria Caswell* Mitso Floor & Anthony Martin
Violoncelli: William Skeen* & Elisabeth Reed
Viennese double bass: Farley Pearce*
(Domonkos Gellert, after Johann Josef Stadlmann, Vienna, c1770)
**concertmaster *principal performed on period instruments
#amadeus
Conductor: Hanneke van Proosdij
Producer: David Tayler
Audio engineer and ambisonics design: Boby Borisov
Video: Lloyd Hryciw & David Tayler
Audio mastering, video cutting and final 8K color and render: David Tayler
Consulting musicologists: Sophie Benn, Ph.D. & David Tayler Ph.D.