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Hyperion Records

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The Flute Player by Jean-Louis-Ernest Meissonier (1815-1891)
Château de Compiegne, Oise / Giraudon / Lauros / Bridgeman Art Library, London
Track(s) taken from CDD22077
Recording details: January 2001
Walcot Hall, Shropshire, United Kingdom
Produced by Annette Isserlis
Engineered by Ben Connellan
Release date: April 2002
Total duration: 7 minutes 47 seconds

'An outstanding achievement' (BBC Music Magazine)

'The playing of the accompanying ensemble shares the distinction of the flautist … congratulations are well deserved all round' (Early Music Review)

'Nicholson, Tunnicliffe, and Kenny engage with Beznosiuk and her musical ideas, creating excellent chamber music' (American Record Guide)

'These are performances I am going to be returning to again and again' (International Record Review)

'Beautifully executed … a perfect example of Beznosiuk’s dark, sweet tone and understated musicianship. Delicious’ (The Independent on Sunday)

'Beznosiuk plays accurately, with a huge dark sound and an easy-going fluency that makes these difficult pieces sound as easy as the first lessons in a Suzuki method class … this is a good, solid version of these fundamental works' (Fanfare, USA)

'Constant pleasure throughout … among the many recordings of these works, this stands high on the list' (Goldberg)

'In virtually every way—flute playing, sonics, and accompaniment—this new original-instrument version of the Sonatas bests my former original-instrument reference … Beznosiuk and her accompanists really feel this music as well' (ClassicsToday.com)

'Lisa Beznosiuk sait prendre le temps de respirer, de suspendre la phrase, de ménager les traits virtuoses' (Répertoire, France)

Sonata in A major, BWV1032
composer
1736

Vivace  [5'38]
Largo e dolce  [3'25]
Allegro  [4'22]

Introduction  EnglishFrançaisDeutsch
Bach’s Sonata in A major for flute and obbligato harpsichord, BWV1032, survives in a Leipzig autograph dating from 1736. It is, however, incomplete since some forty-six concluding bars of the first movement were cut off from the manuscript—which also contains the Concerto in C minor for two harpsichords and strings (BWV1062)—and subsequently lost. Several editors have reconstructed the missing bars, including Alfred Dürr whose solution is contained in the Neue Bach-Ausgabe (VI, 3). Like the B minor Sonata, the piece is stylistically advanced and technically challenging. The opening ‘Vivace’ is introduced by an eight-bar harpsichord solo whose thematic idea becomes closely interrelated with the flute material later on. The second movement, marked ‘Largo e dolce’, is an evenly sustained piece of three-part writing, if perhaps a shade dry, in which the voices expressively imitate and dovetail into one another. The lively concluding ‘Allegro’ provides the focal point of the sonata. Introduced by the harpsichord, the theme is taken up by the flute and developed with radiant energy. The three parts maintain a level of equal importance, whose intense activity eventually leads the flute to a top E, the descent from which brings the movement to an exhilarating close.

from notes by Nicholas Anderson © 2002

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