BACH. CHAMBER WORKS. Various artists. RCA Seon ® RL30426 (two records, nas). Notes included.
Flute Sonatas—No. 1 in B minor, BWV1030; No. 3 in A major, BWV1032; No. 5 in E minor, BWV1034; No. 6 in E major, BWV1035 (with Frans Bruggen, tie; Gustav Leonhardt, hpsch; Anner Bylsma, baroque vIc). Partite in A minor for solo flute, BWV1013 (Frans BrUggen). Partita in A minor, BAN1013—alternative instrumentation (Allemande—G minor for viola; A minor for harpsichord: arr. Leonhardt. Corrente—G minor for piccolo cello. Sarabande in C minor for recorder. Bourrée angloise in G minor for violin. Lucy van Dael, via and baroque yIn; Gustav Leonhardt. hpschd; Anner Bylsma, vlc piccolo; Frans Bruggen, red. Concerto in 0 minor (fragment of Andante from Sonata in B minor. BWV1030: trans. Bruggen. Sigiswald Kuijken, Lucy van Dael, vms; Wieland Kuijken, Adelheid Glatt, vies da gamba; Anner Bylsma. vic; Anthony Woodrow, violone; Gustav Leonhardt, hpschd).
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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\'. A glance at the headings of this column will reveal that the C major and E flat Sonatas (BWVI033 and 1031 respectively) are omitted. Hans-Peter Schmitz, who edited all the attributions and authentic flute sonatas for the Neue Bach-A usgabe, understandably concludes that, fine though they are, both reveal too many stylistic discrepancies for them to be reasonably attributable to Bach. The Sonata in E minor (BWV 1034) on the other hand, although lacking an autograph manuscript, he reckons as being undoubtedly by Bach. Bruggen includes it here but, at the same time, dismisses Bach\'s authorship, justifying its presence on the grounds that Schmitz included it in the NBA. Since he gives as his reasons for doubt precisely those which led Schmitz to exclude the other two. I would suggest a certain illogicality in his choice. Meanwhile, admirers of these works, Bach or no, will have to do without two of the sonatas whose authorship, after all, is still very much open. Surely it would have been more sensible to include them all whilst admitting to the problems of identifying their author or authors; otherwise two, if not three fine compositions, with their highlyprized Schmieder numbers, soon will be relegated to that rather indefinite category whereby publishers and performers will ignore them rather than be seen wanting either in scholarship or in \'packaging\' their product in an enticing manner.
I found Bruggen\'s interpretation of the B minor Sonata (BWV 1030), in which he is partnered by Gustav Leonhardt, the finest contribution to this recital. Elsewhere, there were too many idiosyncracies for my taste—clipped phrases, unconvincing vibrato (especially noticeable in the second movement of the A major Sonata), and that self-conscious adjustment to intonation which adds nothing to my enjoyment of the music; the third movement of the Sonata in E minor illustrates both these last two points with regrettable emphasis. Already I can hear swords clattering in partisan flute quarters!
The fourth side of the album is taken up with speculative gestures towards alternative versions of the Partita in A minor for solo flute and a reworking by Bruggen for two violins, two violas da gamba and continuo of the Andante which begins the Flute Sonata in B minor, To enter into any kind of a discussion about these would occupy several columns, so I shall just say that some of the ideas are fascinating and plausible, and that there is fine playing from all concerned. Strange though it may seem, I would recommend the release on the strength of these experiments; all Bach enthusiasts will find something of interest in them. For those who are simply looking for Bach\'s flute sonatas played on period instruments 1 would recommend the performances by Stephen Preston with Trevor Pinnock (harpsichord) and Jordi Savall (viola da gamba). They include all the works associated with Bach\'s name (CRD CRDIOI4-15, 8/75). N.A.
Gramophone, 12/81
Flute Sonatas—No. 1 in B minor, BWV1030; No. 3 in A major, BWV1032; No. 5 in E minor, BWV1034; No. 6 in E major, BWV1035 (with Frans Bruggen, tie; Gustav Leonhardt, hpsch; Anner Bylsma, baroque vIc). Partite in A minor for solo flute, BWV1013 (Frans BrUggen). Partita in A minor, BAN1013—alternative instrumentation (Allemande—G minor for viola; A minor for harpsichord: arr. Leonhardt. Corrente—G minor for piccolo cello. Sarabande in C minor for recorder. Bourrée angloise in G minor for violin. Lucy van Dael, via and baroque yIn; Gustav Leonhardt. hpschd; Anner Bylsma, vlc piccolo; Frans Bruggen, red. Concerto in 0 minor (fragment of Andante from Sonata in B minor. BWV1030: trans. Bruggen. Sigiswald Kuijken, Lucy van Dael, vms; Wieland Kuijken, Adelheid Glatt, vies da gamba; Anner Bylsma. vic; Anthony Woodrow, violone; Gustav Leonhardt, hpschd).
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\'. A glance at the headings of this column will reveal that the C major and E flat Sonatas (BWVI033 and 1031 respectively) are omitted. Hans-Peter Schmitz, who edited all the attributions and authentic flute sonatas for the Neue Bach-A usgabe, understandably concludes that, fine though they are, both reveal too many stylistic discrepancies for them to be reasonably attributable to Bach. The Sonata in E minor (BWV 1034) on the other hand, although lacking an autograph manuscript, he reckons as being undoubtedly by Bach. Bruggen includes it here but, at the same time, dismisses Bach\'s authorship, justifying its presence on the grounds that Schmitz included it in the NBA. Since he gives as his reasons for doubt precisely those which led Schmitz to exclude the other two. I would suggest a certain illogicality in his choice. Meanwhile, admirers of these works, Bach or no, will have to do without two of the sonatas whose authorship, after all, is still very much open. Surely it would have been more sensible to include them all whilst admitting to the problems of identifying their author or authors; otherwise two, if not three fine compositions, with their highlyprized Schmieder numbers, soon will be relegated to that rather indefinite category whereby publishers and performers will ignore them rather than be seen wanting either in scholarship or in \'packaging\' their product in an enticing manner.
I found Bruggen\'s interpretation of the B minor Sonata (BWV 1030), in which he is partnered by Gustav Leonhardt, the finest contribution to this recital. Elsewhere, there were too many idiosyncracies for my taste—clipped phrases, unconvincing vibrato (especially noticeable in the second movement of the A major Sonata), and that self-conscious adjustment to intonation which adds nothing to my enjoyment of the music; the third movement of the Sonata in E minor illustrates both these last two points with regrettable emphasis. Already I can hear swords clattering in partisan flute quarters!
The fourth side of the album is taken up with speculative gestures towards alternative versions of the Partita in A minor for solo flute and a reworking by Bruggen for two violins, two violas da gamba and continuo of the Andante which begins the Flute Sonata in B minor, To enter into any kind of a discussion about these would occupy several columns, so I shall just say that some of the ideas are fascinating and plausible, and that there is fine playing from all concerned. Strange though it may seem, I would recommend the release on the strength of these experiments; all Bach enthusiasts will find something of interest in them. For those who are simply looking for Bach\'s flute sonatas played on period instruments 1 would recommend the performances by Stephen Preston with Trevor Pinnock (harpsichord) and Jordi Savall (viola da gamba). They include all the works associated with Bach\'s name (CRD CRDIOI4-15, 8/75). N.A.
Gramophone, 12/81