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Track(s) taken from CDA67897

Sonata in E flat major, BWV1031

early to mid-1730s; doubtful attribution

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: 11 minutes 13 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

Gail Hennessy (oboe), Nicholas Parle (harpsichord)
Lisa Beznosiuk (flute), Paul Nicholson (harpsichord/virginals)


'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)
The extent, if any, to which the Sonata in E flat major for flute and obbligato harpsichord, BWV1031, can be attributed to Bach remains in dispute. Probably dating from the early to mid-1730s this immediately appealing music may well be a joint venture of Bach himself and one or other of his two elder sons, perhaps Carl Philipp Emanuel. What is indisputable, however, is the high quality of its craftsmanship and its expressive charm. The opening ‘Allegro moderato’ is introduced by a delightful eight-bar melody played by the harpsichord, after which the flute enters with the main theme. The ‘Siciliano’ is rewardingly written for the flute, its musical substance recalling the first movement of Bach’s C minor violin sonata (BWV1017). In the spirited binary ‘Allegro’, with its repeated sections, there is effective interplay between the two upper parts, bringing this pleasing sonata to a lively conclusion.

from notes by Nicholas Anderson © 2002

On ne sait avec certitude dans quelle mesure Bach a pris part à la composition de la Sonate en mi bémol majeur pour flûte et clavecin obligé, BWV1031. Datant probablement du début ou du milieu des années 1730, cette musique d’une séduction immédiate pourrait bien avoir été écrite conjointement par Bach lui-même et l’un ou l’autre de ses deux fils aînés, peut-être Carl Philipp Emanuel. Ce qui ne fait cependant aucun doute, c’est la grande qualité de son écriture et son charme expressif. L’«Allegro moderato» initial est introduit par une délicieuse mélodie de huit mesures confiée au clavecin, puis la flûte entre à son tour et fait entendre le thème principal. L’écriture de la «Sicilienne» est gratifiante pour la flûte, sa substance musicale rappelant le premier mouvement de la sonate pour violon en ut mineur de Bach (BWV1017). L’«Allegro» fougueux, de forme binaire avec reprises, repose sur des échanges convaincants entre les deux parties aiguës, assurant à cette plaisante sonate une conclusion enlevée.

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

Ob die Sonate in Es-Dur für Flöte und obligates Cembalo, BWV1031, Bach zugeordnet werden kann, und in welchem Maße, bleibt weiterhin umstritten. Diese unmittelbar reizvolle Musik, die wahrscheinlich aus der Zeit vom Beginn bis zur Mitte der 1730er Jahre stammt, mag gut eine Gemeinschaftsarbeit von Bach selbst und einem seiner beiden älteren Söhne (vielleicht Carl Philipp Emanuel) sein. Die hohe Qualität ihrer handwerklichen Kunst und ihr ausdrucksvoller Reiz sind jedoch unbestritten. Das eröffnende „Allegro moderato“ wird durch eine entzückende, vom Cembalo gespielte achttaktige Melodie eingeleitet, nach welcher die Flöte mit dem Hauptthema einsetzt. Das „Siciliano“ wurde auf lohnende Weise für die Flöte komponiert, und seine musikalische Substanz erinnert an den ersten Satz von Bachs Violinsonate in c-Moll (BWV1017). Im geistvollen, zweiteiligen „Allegro“ mit seinen wiederholten Abschnitten gibt es ein wirkungsvolles Wechselspiel zwischen den beiden Oberstimmen, das diese das Ohr erfreuende Sonate zu einem lebhaften Abschluss bringt.

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

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