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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: 18 minutes 32 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' (

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

Partita in A minor, BWV1013
circa 1722/3; solo pour la flûte traversière

Allemande  [5'12]
Corrente  [3'52]
Sarabande  [6'51]

Introduction  EnglishFrançaisDeutsch
Bach’s autograph of the Solo pour la Flûte traversière, BWV1013, has been lost, but the work is preserved in a single manuscript dating from circa 1722/3, the time of his move from Cöthen to Leipzig. The music would therefore seem to belong to this period. The ‘Partita’, though not the earliest music for unaccompanied flute—Hotteterre in Paris had already explored the territory—may have been the first of its kind in Germany. Telemann’s twelve ‘Fantaisies’ did not appear until ten years later, and C P E Bach’s unaccompanied Sonata, of course, appeared even later. Bach’s dance suite of four movements is remarkable for its gently expressive inflections and graceful gestures. While the opening ‘Allemande’ has much of the free, improvisatory character of a prelude, the ‘Corrente’ is rhythmically more closely allied to the dance. The ‘Sarabande’ is expressively wide-ranging, an outstanding example, perhaps, of Bach’s ability to create what Alfred Einstein called ‘tender, melodic writing’ with the barest instrumental resources. The ‘Bourrée Angloise’ is the most dance-like of all the movements, bringing the ‘Partita’ to a light-spirited conclusion.

from notes by Nicholas Anderson © 2002

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