Peter Lukas Graf Sonata For Flute Bwv 1030~1035

"Whether it is necessary, or even right, to follow conventions (the beaten track) when recording music, for example, or whether the performer can claim the right to show the listener the world he lives in, the world he knows best, with all its beauty and its countless oddities, even risks? Should he let the listener into his own territory, that is, into a strange and individual dimension that the audience may not have known existed until now? Nowadays, a carefully crafted recording gives the listener the illusion of a world believed to be flawless, a care that is fundamentally designed to cater to the perfectionism of the audience. A 'different' kind of care is therefore needed, one that can breathe life into even a recording. Our intention in making this record was therefore to create the most natural, realistically transcendent material possible, capable of speaking to the audience." (Szabolcs Szilágyi)

Imme-Jeanne Klett clearly demonstrates on this recording that one particular solo instrument had a very special place in the affections of the German baroque composer Johann Adolf Hasse (1699-1783): the flute. For no other instrument did he write as many concertos and chamber music works.

'Les Six' (so named in 1920 by critic Henri Collet) hit the classical music scene with almost the same outrageous force with which the punk movement slammed into popular music in the 1970s and early '80s. It consisted of a group of six composers working in France: Francis Poulenc, Darius Milhaud, Arthur Honegger, Georges Auric, Germaine Tailleferre and Louis Durey. Their music was largely a reaction against Impressionism and Wagnerism and incorporated the ideas of Satie and Cocteau with the popular styles of the time: French vaudeville, American jazz and café music.