5つ星のうち4.0Well-Played Program of Little-Known Repertoire
2012年9月10日にアメリカ合衆国でレビュー済み
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This is a very enjoyable program. Those seriously interested in Wilhelm Friedemann Bach (oldest son of J. S.) will certainly want this for the opportunity to hear this repertoire, since very little of Friedemann's chamber music survives. Others may just want to enjoy some entertaining, inventive late-baroque solo and trio sonatas, extremely well-played by Camerata Koln.
Friedemann apparently wrote all these works very early in his career, during his first professional appointment (organist at the Dresden Sophienkirche, beginning 1733). The latest, the Trio in B-flat, F. 50, was written around 1745.There are four trio sonatas, three for two flutes and b.c. and one for two violins and b.c. One of the trios (F. 49, for two flutes) is a one-movement fragment. The two solo sonatas for flute and b.c. (without Falck catalog designation) were recently discovered and are here given their premiere recordings. Camerata Koln serves up all these tasty treats with their usual energetic, expressive, and polished blend of period style.
Many claim that Friedemann Bach was the most talented of J. S. Bach's sons, and that his lack of greater recognition as a composer stemmed from his personal faults, usually described as centering on alcoholism. Perhaps that is true, but, based on what you will hear on this disc, you won't think Friedemann to be a greater composer than C. P. E. Bach. The music here falls into the "very good" and "enjoyable" categories. It was certainly influenced by Friedemann's father (and, as the notes point out, by Telemann), but it doesn't really exhibit a first-rate genius. You would never compare these sonatas to, say, Handel's early sonatas. But, given that you aren't expecting work at the highest level, you can still derive a lot of enjoyment from these pieces.
Packaging is typical CPO: you get an essay on the music and a profile of Camerata Koln (German, English, French). Not typical of CPO is a mistake in the track listing, on both the back cover and the booklet: the solo sonata in D occupies tracks 4 - 6, and the trio sonata in B-flat occupies tracks 7 - 9, not the other way around as the track listing proclaims. Altogether, this is a rewarding look at a little-explored corner of music history.
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