Flute Music by Sons of Bach

The five works on the first disc are by two of the sons of J.S. Bach, and all are examples of what were known at the time as trios. Yet they are a diverse group, reflecting not only the distinct styles of their two composers by also the various types of sonatas written by them. The works on the second disc illuminate the crucial role played by C.P.E. Bach in the shift from the Baroque to the Rococo style and the tremendous artistic value of his work. On the faculty at Duke University, flutist Rebecca Troxler specializes in the music of J.S. Bach's sons and other Rococo composers and this repertoire shows off her warm tone, stylish phrasing and brilliant technique.

That Johann Sebastian Bach had created his unbelievable compositional skills passed on to his sons as well the baroque ensemble Les Adieux shows with recordings of chamber music works by Carl Philipp Emanuel Bach, Johann Christoph Friedrich Bach and Johann Christian Bach.

The literature of duets for oboe and flute, with no bass instrument, is not large, and in putting together an album's worth the veteran Swiss musicians Heinz Holliger (oboe) and Felix Renggli (flute) come up with a rather mixed bag of pieces. The good news is that they include some real finds and play them well. The three sonatas for oboe and flute of Wilhelm Friedemann Bach are taken from a group of six he composed at various times in his career, and you can see why this most Bachian of Bach's sons might have been attracted to the experiment. The outer movements of these sonatas are rigorously polyphonic, with the flute and oboe contributing textural variation in the manner of the different stops of an organ, but at a more intimate scale. It's a delightful effect.

Pierre Schaeffer - Solfège de l'objet sonore (1967) {3CD Set, Ina-GRM ina c 2010/11/12 rel 2005}
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© 1967, 2005 Ina-GRM | ina c 2010/11/12
Classical / Electroacoustic / Electronic / Musique Concrète

It is a well-established fact that our approach to music is generally twofold: this is the physicists' as well as the musicians' doing. One the one hand, music is considered to be based on acoustics, or even mathematics, which ought to give it the status of a science; on the other hand , it is acknowledged that it proceeds from psychological and sociological phenomena which, over the ages, have developed into an art, itself depending on various crafts. There is no longer any contradiction between the two approaches so long as one is prepared to accept them jointly, with enough insight to respect the methods proper to each end of the "chain."

Founded in 1973, the Aulos Ensemble is one of America’s oldest period-instrument chamber groups, if not the oldest. The same five musicians have been with the group since the beginning: Christopher Krueger, Baroque flute; Marc Schachman, Baroque oboe; Linda Quan, Baroque violin; Myron Lutzke, Baroque cello; and Arthur Haas, harpsichord. Their Bach Family Album contains an Clavier-Büchlein für Anna Magdalena Bach , arranged to suit the personnel. The famous Aria that begins the Goldberg Variations , for example, is presented here as a cello solo, expressively played by Myron Lutzke. All the other numbers are performed en symphonie with each member given a solo turn.

In the nineteenth century, piano transcriptions were both standard items in the performing repertory and the way most people got to know new music, or in the case of Bach, newly rediscovered music. There are lots of transcriptions for piano of Bach's works for strings, wind instruments, or voices, and Italian-French-American pianist Alessio Bax has dug into the older repertory and forged a program full of fresh items and attractive contrasts.

Abel published quite a few chamber works with flute, meeting the demand for new music by the many gentleman flutists in England. The flute concertos contained here, despite their opus number, were never published, but are found in a manuscript held in Leipzig which can be dated prior to 1759. Stylistically these works have left the Baroque far behind, with regular phrases, simple basses , broad harmonic movement. The melodies make ample use of lombardic rhythms and syncopations and the florid passaggi sparkles with triplets and scalar passages in sixteenths. Though there are occasional harmonic complications which recall Abel's background, the overall tone here is that of the Enlightenment. Who can Abel have written these works for?