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Track(s) taken from CDA67897

Sonata in E major, BWV1035

? 1741

Andrea Oliva (flute), Angela Hewitt (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: December 2011
Jesus-Christus-Kirche, Berlin, Germany
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: February 2013
Total duration: 12 minutes 39 seconds

Cover artwork: A young woman in a Russian hat, holding a book (detail) by Pietro Antonio Rotari (1707-1762)
Sotheby’s Picture Library

Other recordings available for download

Lisa Beznosiuk (flute), Elizabeth Kenny (lute), Richard Tunnicliffe (cello)


'Oliva's modern silver flute has a glorious shimmering quality and an even tone … the combination of these two sensitive artists creates some memorable moments. Best is the Sonata No 1 in B minor with its meditative opening, each part drifting in, its harmony wandering as if at will, duplets gently merging into triplets and back again. The simplicity of the slow movement is entrancing … Oliva's breath-control is astonishing, Hewitt's clean articulation exemplary … this is an inspired modern-instrument take on Bach' (BBC Music Magazine)

'Beyond doubt … are the taste and poise of these performances by Angela Hewitt and Andrea Oliva. The cream of the crop is perhaps Bach's B minor Sonata BWV1030, but the entire set is a cornucopia of lithe invention' (The Daily Telegraph)

'Oliva … is evidently an outstanding player … Hewitt is a model of discretion and elegance' (The Guardian)

'Andrea Oliva and Angela Hewitt relish the flowing nature of such delightful pieces, always bringing a gentle lilt and lift to the proceedings … devotees of counterpoint will not be disappointed either, and will relish Hewitt's ability to point up canons and imitative effects in the keyboard parts, as well as her always refined use of staccato … Oliva's elegance of phrasing and breath control are everywhere exemplary' (International Record Review)
Bach wrote the Sonata in E major for flute and continuo, BWV1035, during the last decade of his life. A nineteenth-century copy—no autograph has survived—suggests that the piece was written in 1741, when Bach made the first of two visits to Berlin, at the request of Frederick II’s chamberlain, Michael Gabriel Fredersdorf, who like his employer, was a keen amateur flautist. The work begins with an ‘Adagio ma non tanto’ whose expressive language calls to mind the sensitive inflections of the north German Empfindsamer Stil. The lively ‘Allegro’ which follows is binary and straightforwardly argued. The ‘Siciliano’ in C sharp minor is a subtler piece whose initial melody is echoed by the bass line but with some arresting harmonic progressions. The concluding ‘Allegro assai’ is introduced by a playful theme on the flute. This is broken off, briefly, while the bass, in a flurry of semiquavers, finishes the phrase on its own. Then the flute resumes the melody, maintaining its predominance to the close.

from notes by Nicholas Anderson © 2002

C’est au cours des dix dernières années de sa vie que Bach a écrit la Sonate en mi majeur pour flûte et continuo, BWV1035. Aucun autographe ne nous est parvenu, mais une copie du XIXe siècle suggère que l’œuvre a été écrite en 1741, à l’occasion du premier des deux séjours de Bach à Berlin, à la demande de Michael Gabriel Fredersdorf, chambellan de Frédéric II, et flûtiste amateur enthousiaste à l’instar de son employeur. L’œuvre débute par un «Adagio ma non tanto» dont le langage expressif évoque les inflexions sensibles de l’Empfindsamer Stil de l’Allemagne du Nord. Lui succède un «Allegro» enlevé, de forme binaire et simplement organisé. La «Sicilienne» en do dièse mineur est une pièce plus subtile dont la mélodie initiale est reprise en écho à la basse, mais avec des progressions harmoniques surprenantes. L’«Allegro assai» final est introduit par un thème enjoué à la flûte. Celle-ci s’interrompt, brièvement, pour laisser la basse finir la phrase seule en une bourrasque de doubles croches. La flûte reprend ensuite la mélodie et maintient sa prééminence jusqu’à la fin.

extrait des notes rédigées par Nicholas Anderson © 2002
Français: Josée Bégaud

Bach schrieb die Sonate in E-Dur für Flöte und Basso continuo, BWV1035, während des letzten Jahrzehnts seines Lebens. Eine Kopie aus dem neunzehnten Jahrhundert—es blieb keine Handschrift erhalten—lässt vermuten, dass das Stück 1741 verfasst wurde, als Bach auf Bitte Michael Gabriel Fredersdorfs, des Kammerherrn von Friedrich II, der wie sein Arbeitgeber ein begeisterter Amateurflötist war, den ersten seiner beiden Berlinbesuche unternahm. Das Werk beginnt mit einem „Adagio ma non tanto“ dessen ausdrucksvolle Sprache an die sensiblen Flexionen des norddeutschen Empfindsamer Stils erinnert. Das lebhafte „Allegro“, das dann folgt, wird zweiteilig und geradlinig durchgeführt. Das „Siciliano“ in cis-Moll ist ein subtileres Musikstück, dessen Anfangsmelodie ihr Echo in der Basslinie mit einer Reihe fesselnder harmonischer Progressionen findet. Das abschließende „Allegro assai“ wird durch ein verspieltes Flötenthema eingeleitet. Dies wird kurz unterbrochen, während der Bass die Phrase allein in einem Gewirr von Sechzehntelnoten zu Ende führt. Die Flöte nimmt sodann die Melodie wieder auf und behauptet bis zum Schluss ihre Vorherrschaft.

aus dem Begleittext von Nicholas Anderson © 2002
Deutsch: Atlas Translations

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Bach: The Complete Flute Sonatas & the attributions
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