This CD presents Wilhelm Friedemann’s works for flute, either as solo sonata or in trio combination: music of great beauty, melodic charm and invention and instrumental brilliance. Although the output of Johann Sebastian’s eldest son is comparatively small, the significance of his style, as a logical and truthful successor of his father, is great. His style, based on the Baroque principles, is free, adventurous and forward‐looking, the “Empfindsame Stil”. It serves as a bridge between the Baroque and the Classical Period. Played by the best Dutch Early Music specialists on period instruments. Contains detailed notes on the music and instrument specification.
Fans of Angela Hewitt will be delighted to find her in chamber mode, accompanying Andrea Oliva (described as ‘one of the best flutists of his generation, a shining star in the world of the flute’ by Sir James Galway) in a programme of J S Bach’s flute sonatas (including one by his most famous and talented son, CPE). Of unfailingly remarkable quality, all these works exploit the full potential of an instrument which was only just coming into its own when they were written. Oliva’s lyricism and agility coupled with Hewitt’s musicianship—not to mention her lifelong rapport with Bach’s music—make this an album to treasure.
The father of the Baroque period, Johann Sebastian Bach is one of the greatest composers of all time. His works, covering a wide range of instruments and voice types, continue to flourish to this day, forming a core part of musical learning. This special disc brings together the Trio Sonatas BWV525–530, works that originally appeared in a manuscript of works for organ. In this form, the pieces naturally became part of Bach’s teaching – a notable contribution to his oldest son Wilhelm Friedemann’s virtuoso organ technique.
Sharon Bezaly has demonstrated her great gifts as a flutist on a number of recordings on BIS ranging from the concertos written for her by renowned contemporary composers, including Sofia Gubaidulina and Kalevi Aho, to the classic staples of the flute literature such as Mozart’s concertos and flute quartets. Along the way there has been a wealth of imaginatively programmed recital discs, focusing on the great flute sonatas as well as the French flute tradition.
This unusual release, recorded in 1975, attempts to shed light on the numerous problems concerning the nature and indeed authorship of the flute sonatas by, or not by, Bach. The artistry of these musicians is, as we might expect, compelling, but in their attempt to segregate authentic Bach from what are often supposed to be spurious flute sonatas they have, in common parlance, 'come a cropper'. (CRD CRDIOI4-15, 8/75). N.A..
The title of this release is thoroughly misleading. The album contains nothing like the ''Complete Flute Sonatas'' of C. P. E. Bach but only those for flute with obbligato harpsichord, of which there are but five. Eleven others for flute and continuo are omitted, along with Bach's single work for unaccompanied flute. Instead, the remaining five sonatas in the programme consist of two (BWV1020 and 1031) whose authorship has long been a matter of dispute; a trio for flute, violin and bass (H578) in which the violin part has been taken over by the right hand of the keyboard; another (H543) in which a similar adjustment has been made to Bach's two differently scored originals; and a duet for violin and harpsichord (H504) in which the violin part is taken by the flute. So, you can see that the title of the album is somewhat economical with the truth, though the accompanying essay by Barthold Kuijken clarifies the position.– Nicholas Anderson, Gramophone [5/1994]