The Berlin public of the mid-Eighteenth Century was fascinated by the ‘original genius’ of C. P. E. Bach and never tired of listening to his concertos.
These works call for a talented soloist capable of mastering the multiple facets of an original and finely worked musical texture: a challenge taken up with panache (and on a period instrument) by the oboist Xenia Loffler, surrounded by her distinguished colleagues of the Akademie fur Alte Musik Berlin.
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