For me, the most
striking thing about this CD in the
initial seconds is the wonderful sound
of two flutes and continuo caught
in what seems like the most perfect
acoustic one could find for this combination.
Whether the acoustic is from the hall
or a box of sound engineer’s tricks
- I suspect perhaps a bit of both
- the sound is a force to be reckoned
with. Combined with playing of the
highest order, this is a high quality
product which deserves the highest
of praise.
The two flutes are
evenly matched in both tone quality
and expression, and the continuo provides
strong support. The balance between
parts is perfect, and flexible enough
to allow the solo lines to come through
the texture.
The five sonatas
on this disc are heard in many guises,
with BWV 1027-29 perhaps best known
as sonatas for viola da gamba. The
combination of two flutes and continuo
works well and the versions of the
works used are carefully considered
and edited by the performers, further
demonstrating their sensitivity and
understanding of the music. The sonatas
nearly always have four movements,
in slow-fast-slow-fast form; the exception
is the G minor sonata BWV 1029, which
is in three movement form.
The playing is expressive,
with a stunning sense of direction
through the phrases. The fast movements
are played with gusto, a strong sense
of pulse, and clarity of technique
and articulation. The sense of ensemble
between these four players is faultless,
with every turn of phrase beautifully
matched to create a magnificent sense
of unity. The slow movements provide
an opportunity to drown in the richness
of the sound, with beautiful shaping
and sensitive dynamic contrasts.
In these days of
enlightened research into early music,
I fully accept that period performance
practice has a very rightful place.
These sonatas are performed making
full use of an intelligent understanding
of Bach’s style, but played on modern
instruments … thankfully, though,
not replacing the harpsichord with
piano. It is extremely enjoyable to
hear these works making full use of
the capabilities of modern flutes,
particularly in terms of sound and
dynamic range. While the effect of
this is different from the sound of
baroque flutes, it is inspiring to
think that these sonatas have a modern
relevance which will undoubtedly help
to ensure another 250+ years of performance.
Unmissable.
Carla Rees
see also review
by Dominy Clements
for details
Hansgeorg Schneister; Jan Ostry (flutes);
Ingomar Rainer (harpsichord); Othmar Muller
(cello) 
