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This
is a very fine and most pleasing record - the Baroque flute has
long enjoyed being the recipient of some of the most fascinating
music of its era; some of the highlights being written by no less
a figure than J.S. Bach.
Not
counting the amazing Orchestral Suite
No.2 and the Brandenburg Concerto
No.5, Bach's works for flute include the six flute sonatas - of
these, two are not generally accepted as authentic. BWVs 1030 and
1032 are accompanied with a complete harpsichord part, while 1034
and 1035 include a basso continuo.
Of
the latter pair, BWV 1034 in E minor is believed to come
from Bach's early Leipzig years. Solomon writes that the work, one
of his favourites, contains technical challenges and fast passagework
in the fast movements which show off the flute to its full potential.
And indeed, in this case, the flutist himself does not disappoint.
The two slow movements are very attractive - I was caught offguard
by the change to a more pronounced plucking tone used by the harpsichord
for the Andante - perhaps the alternate manual, creating
a harplike atmosphere, the harp being one of the most heavenly companions
to the flute.
BWV
1035 in E major survives only from a 19th century copy marked
to have been composed in 1741 for one Michael Gabriel Fredersdorf,
an amateur flutist and valet who served Frederick the Great. It
is lighter in mood than BWV 1034, to which it makes a refreshing
complement.
Besides
these, there exists a Trio Sonata in G major for two flutes and
continuo, BWV 1039, and a Partita in A minor for solo flute,
BWV 1013, believed to be one of Bach's earliest flute pieces
to have survived today. Malcolm Boyd, in his book Bach (Master
Musicians series) suggests that BWV 1013 is "not entirely idiomatic
to the instrument", which Solomon details in his notes. There
are no natural pauses or breaks for breathing in the first two movements,
while the frequent arpeggio figures seem more suited to a keyboard
or string instrument.
 Nevertheless,
if it is truly unidiomatic, Ashley Solomon does not show it. His
rendition is gracious, meditatively beautiful, wanderingly thoughtful
in the best tradition of Bach's solo instrumental music. The four
movements, cast as French dances, display Solomon's good sense of
rhythm and movement. There is an underlying energy to his performances
which does not become too hectic - which is a very fine way to showcase
the Baroque flute tone, avoiding excessive "windy-ness"
as one negotiates the long breezy passages. Solomon's reading of
the Sarabande is wonderfully melancholic, full of well-chosen
rubato, the whole sounding like a long wistful tale unfolding. Very
ethereal indeed and perfect fare for a quiet night's music.
The
B minor Sonata, BWV 1030 is among Bach's most beautiful pieces for
flute. Written around 1736, it is rich in character, solemn but
also energetic, aristocratic and grand. The first movement is a
long Andante in excess of 8 minutes.
The
disc begins with a piece which Solomon admits is not confirmed to
have been written by Bach, a Sonata in C major, BWV1033.
If it is, history suggests it was composed when Bach was in Cöthen.
While it might have been meant for a solo flute, the performance
here includes a part for harpsichord - the whole is absolutely lively,
as in the Allegro and the final menuets; and beautifully
meditative (the Adagio).
Harpsichordist
Terry Charlston provides colourful and spritely accompaniment throughout
the recording, the varying hammered/plucked tone a very interesting
highlight. Solomon adds a note in the CD sleeve that he is playing
at A=392, a full tone below modern concert pitch, "and the
dark tone and colour at this pitch is complimented by the strong,
rich bass of the Ruckers (copy) harpsichord also heard on this recording.."
This I think is a humble way to express the very pleasingly mellow
tone he plays with, accompanied by the light and unobstrusive harpsichord
of his partner. "We hope that you agree that the flute and
harpsichord tones are balanced well enough not to require the addition
of a bowed bass line to the continuo." Yes - absolutely agreed,
and more! Volume 2 please!
Bibliography
Boyd, Malcolm. Bach (The Master Musicians). Schirmer. New
York: 1997.
CHIA
HAN-LEON got into listening classical music because he accidentally
saw a James Galway documentary/concert on TV when he was 14 years
old. He learnt to play the Chinese flute when he was 15, and got
accidentally enlisted into the Navy Military Band because someone
mistook his Chinese flute for a Western flute... ah, fate.
816:
7.1.2001 ©Chia Han-Leon
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