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French and Italian Flute Music CD1 Michel Pignolet de MONTECLAIR (1667-1737) Deuxième Concert pour la Flûte Tráversière (1724)
[12:27] Michel BLAVET (1700–1768)
Sonata Seconda (1732) [11:13] Jean-Pierre GUIGNON (1702–1774)
Sonata in A major Op. 1 No. 8 (1737) [7:50] Joseph Bodin de BOISMORTIER (ca.1691–1755)
Deuxième Sonate in G minor (1741) [7:55] Jean Marie LECLAIR(1697-1764)
Sonata VII Qui peut se jouer sur la Flûte Allemande (1738) [11:57] CD2 Arcangelo CORELLI(1653-1713)
Sonata in E minor, Op. 5 No. 8 [11:00] Francesco GEMINIANI (1679/80–1762)
Sonata in D major ,Op. 1 No. 10 [8:17] Francesco Maria VERACINI (1690–1768)
Sonata Sesta in E minor, Op. 1 (1721) [17:04] Pietro Antonio LOCATELLI (1695–1764)
Sonata in C major, Op. 2 No. 1 [7:22] Tomaso ALBINONI (1671–1751)
Sonata in A minor [9:28] Antonio VIVALDI (1678?–1741) (attr.)
Sonata in G minor, Op. 13 No. 6 (RV 58) [6:42]; Giovanni Benedetto PLATTI (ca. 1700–1763)
Sonata in G major, Op. 3 [13:32]
Barthold Kuijken (flute); Wieland
Kuijken (viola da gamba/cello); Robert Kohnen
(harpsichord)
rec. CD 1: May 1979, St Stephanuskerk, Melsen, Belgium; CD 2 June 1991, l’Eglise
St Apollinaire, Bolland, Belgium ACCENT
ACC30009 [51:46 + 53:42]
This
delightful two CD set contains a varied mixture of French
and Italian baroque music for flute. Performed by Barthold
Kuijken, one of Belgium’s leading exponents of the baroque
flute, alongside his brother Wieland and the harpsichordist
Robert Kohnen, these are high quality performances throughout.
The choice of repertoire provides a good representation of
the vast number of works composed for the flute in its ‘Golden
Age’. In the eighteenth century, there were literally hundreds
of flute pieces created throughout Europe.
The
first disc concentrates on French repertoire, and includes
works by Montéclair and Guignon alongside the perhaps better
known Boismortier, Blavet and Leclair. These varied items
were all composed during the space of less than twenty years,
from 1724 to 1741, and demonstrate the stylistic changes
of the time. From the opening few notes, it is clear that
this is an exceptional recording. The phrasing and sound
quality in the Montéclair Prelude is beautiful and highly
expressive. I particularly enjoyed the Boismortier sonata,
where the performers evince a strong sense of duo between
the flute and harpsichord. The playing is energetic, perhaps
even forceful at times - without being over the top - and
went against the stereotype of the baroque flute as a quiet
instrument with limited expressive capabilities. Kuijken
has shown here that such a stereotype is hugely inaccurate.
This is a fine example of teamwork at its best, with each
instrument sensitively balancing the others. The Blavet sonata, La
Vibray, is played with elegance and poise. The final
allegro provides a display of virtuoso excellence, with even
technique and a beautiful sense of spacing. This is amounts
to a masterclass in how this kind of repertoire should be
played.
The
second disc focuses its attention on Italian works. Some
of the best known composers of the time are included, including
Corelli, Vivaldi and Albinoni. The difference in compositional
style, in contrast to the first disc, is immediately obvious.
Recorded some 12 years later, the performance has the same
freshness and energy as the French disc and demonstrates
the performers’ understanding of the repertoire. The CD begins
with an enjoyable and charming Corelli Sonata, with moments
in which Kuijken demonstrates the depth of tone in his low
register. The Veracini sonata stood out as having particular
elegance and real charm, throughout all four of its contrasting
movements. There is a constant sense of direction and is
beautifully played throughout. Albinoni’s A minor sonata
is one that I have enjoyed playing myself from time to time
in an arrangement for flute and guitar. It was interesting
to hear it now in its original form, played on period instruments.
The fast movements are exhilarating, while the slow ones
have a sensitive feel for the phrasing. Compared to a modern
flute, the baroque instrument has more limited dynamic range,
yet the dynamics come across clearly and there is enormous
expressive power in Kuijken’s playing. Vivaldi is represented
here with his (attributed) G minor Sonata. The fugue (track
22) was particularly enjoyable, played with relentless energy
and excellent balance between parts. The phrasing in the
Largo was beautiful, full of exquisite phrasing and tasteful
but imaginative ornamentation. The final Allegro is a dazzling
technical display, sounding effortless, with once again,
even semiquavers and clarity of articulation. Also on the
disc are very charming works by Geminiani, Platti and Locatelli.
The playing on
these discs is consistently of a high standard, as one would
expect of a performer of Kuijken’s reputation. His interpretations
breathe fresh life into repertoire which has been heard many
times before; I listened as if for the first time. His ornamentation
is unobtrusive and stylish, and the tone colours he produces
are captivating. He retains the simplicity often associated
with the baroque flute, while creating vast tonal array and
expressive variety. The continuo accompaniment is poised and
supportive, never overbalancing the solo line or getting in
the way. If you only ever buy one recording of baroque flute
music, this should be it.
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