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Bach: Flute Sonatas, Viola da Gamba Sonatas / Larrieu, Cervera, Puyana
Release Date: 02/15/1993
Label: Philips Duo Catalog #: 438 809 Spars Code: ADD
Composer: Johann Sebastian Bach
Performer: Wieland Kuijken, Rafael Puyana, Maxence Larrieu, Marcel Cervera
Number of Discs: 2
Recorded in: Stereo
Length: 2 Hours 19 Mins.
Works on This Recording
1. Sonata for Flute and Basso Continuo in E minor, BWV 1034 by Johann Sebastian Bach
Performer: Wieland Kuijken (Viola da gamba), Rafael Puyana (Harpsichord), Maxence Larrieu (Flute)
Period: Baroque
Written: circa 1717-1720; ?Cöthen, Germany
2. Sonata for Flute and Basso Continuo in E major, BWV 1035 by Johann Sebastian Bach
Performer: Wieland Kuijken (Viola da gamba), Maxence Larrieu (Flute), Rafael Puyana (Harpsichord)
Period: Baroque
Written: 1717-1720; ?Cöthen, Germany
3. Sonata for Flute and Harpsichord in A major, BWV 1032 by Johann Sebastian Bach
Performer: Maxence Larrieu (Flute), Rafael Puyana (Harpsichord)
Period: Baroque
Written: ?1724; Leipzig, Germany
4. Partita for Flute solo in A minor, BWV 1013 by Johann Sebastian Bach
Performer: Maxence Larrieu (Flute)
Period: Baroque
Written: ?1720s; ?Cöthen, Germany
5. Sonata for Flute and Harpsichord in B minor, BWV 1030 by Johann Sebastian Bach
Performer: Maxence Larrieu (Flute), Rafael Puyana (Harpsichord)
Period: Baroque
Written: ?1738; Leipzig, Germany
6. Sonata for Flute and Harpsichord in C major, BWV 1033 by Johann Sebastian Bach
Performer: Wieland Kuijken (Viola da gamba), Rafael Puyana (Harpsichord), Maxence Larrieu (Flute)
Period: Baroque
Written: Germany
7. Sonata for Flute and Harpsichord in G minor, BWV 1020 by Johann Sebastian Bach
Performer: Rafael Puyana (Harpsichord), Maxence Larrieu (Flute)
Period: Baroque
8. Sonata for Flute and Harpsichord in E flat major, BWV 1031 by Johann Sebastian Bach
Performer: Maxence Larrieu (Flute), Rafael Puyana (Harpsichord)
Period: Baroque
Written: circa 1734; Leipzig, Germany
9. Sonata for Viola da Gamba and Harpsichord no 1 in G major, BWV 1027 by Johann Sebastian Bach
Performer: Rafael Puyana (Harpsichord), Marcel Cervera (Viola da gamba)
Period: Baroque
Written: circa 1720; Cöthen, Germany
10. Sonata for Viola da Gamba and Harpsichord no 2 in D major, BWV 1028 by Johann Sebastian Bach
Performer: Rafael Puyana (Harpsichord), Marcel Cervera (Viola da gamba)
Period: Baroque
Written: circa 1720; Cöthen, Germany
11. Sonata for Viola da Gamba and Harpsichord no 3 in G minor, BWV 1029 by Johann Sebastian Bach
Performer: Rafael Puyana (Harpsichord), Marcel Cervera (Viola da gamba)
Period: Baroque
Written: circa 1720; Cöthen, Germany
Notes and Editorial Reviews
"The Complete Flute Sonatas" says the sleeve—an overstatement; these discs offer Bach's genuine flute Sonatas plus two he didn't write, the C major and the E flat, and one, the G minor, which seems to be neither his nor for the flute. The only source says it was for the violin. It does not follow that the interlopers will waste your time. The C major may be poor, but the E flat is a charming work, very well written for the instruments, and much more interesting than, say, the genuine sonata for solo flute which may well be worth playing but it is hardly worth hearing. The best works are the splendid B minor which has a written-out harpsichord part and the E minor, one of three with continuo accompaniment. Some may think that Rafael Puyana realizes these continuo accompaniments with too much invention and personality, but I admired his skill and he has very ably supplied the missing passage in the first movement of the A major, a goodish sonata of which the old Bach Gesellschaft edition published only the three completed movements.
Maxence Larrieu has a nice full tone (reinforced by a rather close balance) and remarkable breath control. Towards the end of the second movement of the E minor he adds a cadenza for which there is no musical justification, but it may be that only so could he make an opportunity for refilling his lungs. One listens amazed both to his virtuosity—he plays some movements very fast indeed—and to his apparent ability to stay alive without breathing. In 1968 1 felt he did not play slow movements with quite enough expression, but I think this no longer. Expressiveness is not so fashionable as it was. Nor are the frequent changes of registration we hear from the harpsichord. The balance is excellent.
– Gramophone [9/1982], reviewing an earlier release
Pressestimmen
D. Steppuhn in HiFi-Stereophonie 6 / 68:"Diese Kombination, wo der eine den anderen mitreissend anfeuern will und der andere den einen durch beherrschtes Spielen zurückzuhalten sucht, führt zu einem packenden und so reizvollen Ergebnis. ..Die Aufnahmetechnik fördert den fülligen Cembaloton und ist makellos."
