7/4/2023 0 Comments Amadine beyer![]() ![]() Furthermore, precisely because it is demanding, it improves you. It’s also very tempting repertoire for a group because it’s so open to interpretation – whenever I hear a different recording of this music I always discover a new aspect. To try to find a way to get closer to him, learn from him and of course to share it. ![]() For the musician this lack of compromise can be hard to interpret because you have to change the affects, nuances, speed and state of spirit so fast – which is why I think we’re all a bit afraid of it!’ She concluded: ‘So for me this recording is almost like an exorcism. Although he’s capable of a lot of nuance, he likes a lot of contrast, taking piano as far as it will go, and forte as loud as it can. Amandine Beyer, Gli Incogniti - CPE Bach: Beyond the Limits - Complete Symphonies for Strings and Continuo Format CD Catalogue No. So perhaps the only way for Carl Philipp to escape from the pressure of the family name was just to be himself, with no compromises. I can’t even imagine what it must have been like to be the son of Johann Sebastian Bach, and then to be a musician! It’s like having Isaac Newton as a father and wanting to be a physicist. It’s almost unplayable, because it’s so weird, which partly I think is because of the totally passionate Sturm und Drang style of the period, and partly because of his family. ‘Then there’s the music’s reputation for being very, very difficult. ![]() Bach symphonies in the first place? ‘The family name is famous, but many people don’t really know the music of Carl Philipp,’ Amandine Beyer pointed out. The December 2020 digital magazine and print edition are on sale now. To read in full, click here to subscribe and login. Artist Biography Available in: Born: 1974 - Aix-en-Provence, France The French violinst, Amandine Beyer, began studying music Aix-en-Provence at the age of. The following is an extract from a Session Report on recording the music of C.P.E Bach in The Strad’s December 2020 issue. Bach at the Arras Theatre, France, in November 2019 After programmes of music by Nicola Matteis and Johann Rosenmüller, in 2013 the ensemble released a new version of Corelli’s celebrated Concerti Grossi op.6 that obtained a Diapason d’Or of the year (Zig-Zag Territoires).Amandine Beyer (front left) and Gli Incogniti record C.P.E. Its first recordings, devoted to the violin concertos of Bach and Vivaldi, were immediately singled out for mention by the international press. It was only natural that, after tackling Haydn and the Esterházy princes, Amandine Beyer and Gli Incogniti should investigate this repertoire in which, once again, aristocratic patronage lies at the heart of musical creation. Gli Incogniti has appeared in many leading venues (including the opera houses of Dijon and Monte Carlo and the Théâtre de la Ville in Paris) and at such festivals as Via Stellae in Spain, Tage Alter Musik in Regensburg (Germany), and Saintes, Sablé and Lanvellec in France. The primary aim of its approach founded on the pleasure of a ‘union of tastes’ (the goûts réunis dear to François Couperin), achieved through collective work, is to convey to its listeners a committed and cohesive vision of the music it tackles. The choice of name was motivated by the group’s taste for the unknown in all its forms, whether this involves experimentation with sonorities, exploration of new repertory, or rediscovery of the ‘classics’. ![]() The ensemble founded by Amandine Beyer in 2006 takes its name from the Accademia degli Incogniti, a musical society active in Venice in the 1630s. ![]()
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