|
1-4. Sonata for Flute and Basso Continuo in E minor, BWV 1034 (12:18)
Common Name Sonata For Flute & Continuo
Catalog No. BWV 1034
Composer Johann Sebastian Bach (1685 - 1750)
Performer: Verena Fischer (Flute)
Léon Berben (Harpsichord)
Genre Baroque Period / Sonata
Date Written 1724
Period Baroque
Written circa 1717-1720; ?Cöthen, Germany.
|
1. Ⅰ. Adagio ma non tanto
2. Ⅱ. Allegro
3. Ⅲ. Andante
4. Ⅳ. Allegro |
2:57
2:31
2:18
4:32 |
5-7. Sonata for Flute and Harpsichord in A major, BWV 1032 (11:49)
Common Name Sonata For Flute & Keyboard
Catalog No. BWV 1032
Composer Johann Sebastian Bach (1685 - 1750)
Performer: Verena Fischer (Flute)
Léon Berben (Harpsichord)
Genre Baroque Period / Sonata
Date Written 1736
Period Baroque
Written: ?1724; Leipzig, Germany
|
5. Ⅰ. Vivace
6. Ⅱ. Largo e dolce
7. Ⅲ. Allegro |
4:50
2:53
4:06 |
8-11. Sonata for Flute and Basso Continuo in E major, BWV 1035 (10:15)
Common Name Sonata For Flute & Continuo
Catalog No. BWV 1035
Composer Johann Sebastian Bach (1685 - 1750)
Performer: Verena Fischer (Flute)
Léon Berben (Harpsichord)
Genre Baroque Period / Sonata
Date Written 1741
Period Baroque
Written 1717-1720; ?Cöthen, Germany
|
8. Ⅰ. Adagio ma non tanto
9. Ⅱ. Allegro
10. Ⅲ. Siciliana
11. Ⅳ. Allegro assai |
1:56
2:47
2:30
3:02 |
12-14. Sonata for Flute and Harpsichord in B minor, BWV 1030 (14:02)
Common Name Sonata For Flute & Keyboard
Catalog No. BWV 1030
Composer Johann Sebastian Bach (1685 - 1750)
Performer: Verena Fischer (Flute)
Léon Berben (Harpsichord)
Genre Baroque Period / Sonata
Date Written 1736-1737
Period Baroque
Written ?1738; Leipzig, Germany
|
12. Ⅰ. Andante
13. Ⅱ. Largo e dolce
14. Ⅲ. Presto |
7:02
2:10
4:50 |
15-18. Partita for Flute solo in A minor, BWV 1013 (15:21)
Catalog No. BWV 1013
Composer Johann Sebastian Bach (1685 - 1750)
Performer: Verena Fischer (Flute)
Genre Baroque Period / Partita / Sonata
Date Written 1722-1723
Period Baroque
Country Germany
Written ?1720s; ?Cöthen, Germany
|
15. Ⅰ. Allemande
16. Ⅱ. Corrente
17. Ⅲ. Sarabande
18. Ⅳ. Bouree anglaise |
5:05
3:19
4:26
2:31 |
Johann Sebastian Bach
The Authentic Flute Sonatas
Whoever listens to Bach's complete works for solo flute is confronted with an apparently well-ordered world. As in an encyclopaedia, the flute's most varied means of ｅxpression are developed: sensitive gestures, gallant dance figures, concertante selfｅxpression, brilliant dialogues and densely contrapuntal reflectiveness have the effect of being bound together to form a coherent whole.
The possible scoring options are systematically worked out in a tight circle of neighbouring keys – ranging from solo senza basso (i.e. without an additional bass part) and two duo sonatas for flute and bass (E minor and E major) to two trio sonatas for flute and obligato harpsichord in which the harpsichordist's right hand represents a second upper part (A major, B minor).
Upon closer inspection, however, many things become unclear. In fact, we hardly even know anything about when and for whom these works were composed or the context in which they were performed; indeed, it is even doubtful in some cases whether they were really originally conceived for the flute and in this form.
For all that, it seems quite plausible that it is the flute coming to join Bach's famous groups of works for strings and for keyboard instruments. The new transverse flute underwent an impressive social advancement during the composer's lifetime, appearing as an expressive medium of sophisticated entertainment alongside the more intellectual clavier, but also with a quasi-philosophical nimbus derived from direct breathing and the immediate feelings being expressed through it.
This distinctly subjective element perhaps explains the attitude behind the Solo in A minor – a piece that appears to be hardly playable. This is less due to any particular technical difficulties in terms of fingering or to truly difficult or high notes than to the contradiction between the continuous movement of the music and the performer's need to breathe.
Nonetheless, the piece is not written against the instrument, but reckons with a confident interpreter with a high degree of imagination in the areas of articulation and phrasing. But who is supposed to have played this music? If one looks for the opportunities that Bach had for composing autonomous flute music, then Köthen must be considered as the first station where he was able to work with outstanding instrumentalists between 1717 and 1723. The mixture of sonata and concerto principals characteristic for Bach must have received decisive stimuli there.
Be that as it may, there are also exposed solo flute parts in cantatas of the first year in Leipzig, 1724, which are indeed reminiscent of the flute part of the Sonata in E minor. If there were no flute-playing students in Leipzig who played Bach's demanding parts, a clue could lead us to the Chapel Royal of Dresden, with which Bach had dealings. A visit paid to Bach in Leipzig by the Dresden flutist Pierre-Gabriel Buffardin in 1724 leads one to believe that cantata parts, like flute sonatas, could have been composed in such an inspiringly exceptional state.
The Sonatas in A major and B minor are recognisably based on precursors for concertos or genuine trio sonatas for whatever instruments, and only a favourable opportunity was needed to formulate them anew for two players. The fact that the manuscript of the A major Sonata was cut in Bach's milieu - meaning that only part of the first movement has been handed down to us - could be an indication for such an adaptation. There could have been suitable opportunities for domestic music-making in the Bach home; after all, Johann Gottfried Bernhard, the composer's third son, distinguished himself on the flute.
The piece could also have been played at the students' Collegium Musicum directed by Bach at a coffee house. But what a level of appreciation and ability must be assumed, on the part of players and listeners alike, if the singular and demanding B minor Sonata was played there! By contrast, one can readily recognise the unequivocal purpose of the Sonata in E major. Dedicated to Michael Gabriel Fredersdorf, valet and former secret duet partner of Friedrich the Great, it is decidedly more accessible; moreover, it complies with the gallant style and, so to speak, the conversational tone that was cultivated in royal circles. In this respect, Bach's flute music indeed spans an entire world, from the highest positions to the most personal utterances in Bach's innermost circle.
Hansjörg Ewert
Translation: David Babcock
Verena Fischer
Verena Fischer is one of the leading baroque transverse flutists of her generation. She began her artistic career, following modern flute studies with Peter-Lukas Graf and Auréle Nicolet, as solo flutist in the Junge Deutsche Philharmonie. Immediately after this, she obtained the same position in the Southwest Philharmonic Orchestra. In 1992 she began studying the baroque transverse flute, attending courses with Barthold Kuijken and Wilbert Hazelzet. As solo flutist of the Musica Antiqua Cologne (Reinhard Goebel) she concertised all over the world for ten years as a soloist and chamber musician. This activity is documented by numerous CDs issued by the Deutsche Grammophon Gesellschaft with this ensemble. After Musica Antiqua Cologne was disbanded, Verena Fischer founded her own ensemble, Concerto/Würzburg, which primarily concentrates on music of the classical period.
Verena Fischer is a regular guest artist with various ensembles such as the Wiener Akademie, the Freitagsakademie Berne, the Concerto Melante, moderntimes_1800 and the Munich Hofkapelle. She has travelled to South Africa, Italy, Austria and Russia for master courses and chamber concerts. Appearances as soloist and chamber musician at renowned festivals round off her musical career. Together with Léon Berben, she has recorded the twelve flute sonatas of Johan Helmich Roman and a selection of six Quantz sonatas.
Léon Berben
Léon Berben is considered a master in the field of harpsichord and organ. In addition, his comprehensive knowledge of music history and historical performance practice have distinguished him as one of the leading members of the younger generation of the Early Music scene. His repertoire includes keyboard works composed between 1550 and 1790. He has also served as co-author for the Encyclopaedia Die Musik in Geschichte und Gegenwart.
Intensive source studies and constant research lend a special quality to the interpretative art of Léon Berben. His solo CD recordings on historic organs and harpsichords have been highly praised by the specialist press and awarded numerous honours, including the "Diapason d'Or", the "Choc" from Le Monde de la Musique and the quarterly German Recording Critics' Prize.
Léon Berben was born in 1970 in Heerlen (Netherlands) and lives in Cologne. He studied organ and harpsichord in Amsterdam and The Hague with Rienk Jiskoot, Gustav Leonhardt, Ton Koopman and Tini Mathot, completing his studies with the soloist's diploma.
Starting in 2000, Léon Berben was active as harpsichordist of the Musica Antiqua Cologne (Reinhard Goebel). In this capacity, he gave guest performances in Europe, North and South America as well as Asia. Since the ensemble disbanded in late 2006, he has pursued an extended solo career which has led him to renowned festivals such as the Ruhr Piano Festival, Internationaal orgelfestival Haarlem, Festival oude muziek Utrecht, Rheingau Music Festival, Festival de Saintes, Lucerne Festival and Festival de Música Antiga de Barcelona. He teaches Historic Performance Practice at the Music Academy in Rostock. | 