Unlike the other landmark collections that came from Bach’s pen, the six flute sonatas all appear to have been “one offs” with no particular plan for publication as a set. Further, in contrast to the collections for solo strings, Bach’s chamber music for flute was written comparatively late in his career, the earliest, the Sonata in E minor BWV1034, probably a product of Bach’s early Leipzig years (mid-1720s) and the latest, the Sonata in E major for flute and continuo BWV1035, is believed to have been written during the last decade of composer’s life for Frederick the Great.
In honor of OUR Recordings’ 40th Release, Michala Petri could scarcely choose a more exciting program than a return visit to Bach’s Flute Sonatas; Michala’s famous 1992 recording with Keith Jarrett has long since attained legendary status. Just as her collaboration with Jarrett unveiled a ‘new-born’ approach to Bach, this new recording is likewise revelatory and… transcendent. Joining Michala on this journey is an early music dream team: harpsichordist Mahan Esfahani, rightly regarded as one of the fiercest of the younger generation of clavecinistes, playing his new Jukka Ollikka harpsichord, and Hille Perl, one of the world’s leading and most beloved viola da gambists rounding out the continuo unit.
As we’ve come to expect from OUR Recordings, the sonics and packaging are extraordinary, thanks to the producer Preben Iwan and booklet notes by Mahan Esfahani. This new recording of the Bach “Flute” Sonatas is destined to become a reference edition of this famous works.
TracklistPlease note that the below previews are loaded as 44.1 kHz / 16 bit.
Total time: 01:13:38
Pyramix DAW system with HORUS preamps/ converters and Tango Controller.
3x DPA 4006-TL – 2x DPA 4015TL, 1x Neumann U89 & 2x Neumann KM184
|Original Recording Format|
Garnisons Kirke, Copenhagen June 11 – 14. 2019
|Recording Type & Bit Rate|
B&W Nautilus Diamond
|Release Date||October 11, 2019|
There can be no doubt that recorder player Michala Petri holds one of the pre-eminent positions as one of the most prolific and talented performers on the instrument. Her work spans many years and a discography that is quite monumental. Moreover, she has a repertory that ranges from the early Baroque to jazz, using the recorder as a medium for a new sound world. It is therefore with some anticipation that I received this disc of Johann Sebastian Bach’s equally well-known and iconic flute sonatas, performed with a continuo consisting of Mahan Esfahani on the harpsichord and Hille Perl on viola da gamba.
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