Dorothee Oberlinger, Christian Rieger - Johann Sebastian Bach: a due per Flauto e Cambalo (2006)
EAC | FLAC | Image (Cue & Log) ~ 538 Mb | Total time: 75:19 | Scans included
Classical | Label: Marc Aurel Edition | MA 20035 | Recorded: 2005
EAC | FLAC | Image (Cue & Log) ~ 538 Mb | Total time: 75:19 | Scans included
Classical | Label: Marc Aurel Edition | MA 20035 | Recorded: 2005
In its way, this German release is more radical than many of the other discs on which recorder players have asserted their rights to big swaths of the Baroque repertory. The radical quality doesn't lie in the arrangement of Bach works for the recorder, which in no way goes beyond Bach's own musical recycling ethic. (Three works were originally written for flute, one was an organ trio sonata, one was a violin sonata, and one is for harpsichord alone.) The unusual quality of the arrangement instead lies in the treatment of the accompanimental harpsichord, which is all alone with no gamba or anything else supporting its fundamental line. The advantage of this, according to recorder player Dorothee Oberlinger and harpsichordist Christian Rieger, is that "the possibility of entering into a musical dialogue as well as a close examination of the music and collaboration between the two players is greatly enhanced." Picking through the Teutonic sentence structure and listening to the disc, you'll find that what you've acquired is a group of Bach pieces treated as though they were duo sonatas – something not far removed from his aesthetic but just slightly foreign to it. Baroque music is an intrinsically flexible thing, and Bach in particular stands up to synthesizers or pretty much whatever else you throw at it. When revisionism is done well and sensitively, as it is here, the result is Bach viewed through a prism, one that puts some colors in that weren't there in the first place, but also makes you view the item in new ways. Oberlinger and Rieger are an arresting pair; Rieger delivers rich sonorities on a copy of a 1728 German harpsichord (listen to the density he brings to later sections of the fugue in the solo Prelude, Fugue, and Allegro, BWV 998, track 27) and takes time toward the ends of long phrases – pushing Oberlinger toward the recorder's expressive limits. Whether she plays the recorder expressively or pushes the pitch a bit too far at times will depend entirely on individual tastes, but even those inclining toward the latter view will be swept along by the momentum of the music.– James Manheim
Performer:
Dorothee Oberlinger, recorder
Christian Rieger, harpsichord
Tracklist:
Johann Sebastian Bach (1685-1750)
Trio Sonata for organ No. 1 in E flat major, BWV 525 (BC J1)
01. Alla breve
02. Adagio
03. Allegro
Sonata for violin & keyboard No. 4 in C minor, BWV 1017
04. Largo
05. Allegro
06. Adagio
07. Allegro
Partita for solo flute in A minor, BWV 1013
08. Allemande
09. Corrente
10. Sarabande
11. Bourrée Anglaise
Sonata for flute & continuo in E major, BWV 1035
12. Adagio ma non tanto
13. Allegro
14. Siciliana
15. Allegro assai
Prelude, Fugue and Allegro, for lute in E flat major, BWV 998 (BC L132)
16. Präludium
17. Fuge
18. Allegro
Sonata for flute & keyboard in B minor, BWV 1030
19. Andante
20. Largo e Dolce
21. Presto
Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 7. December 2019, 8:30
Dorothee Oberlinger, Christian Rieger / Bach - a due per Flauto e Cembalo
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21 | 70:24.56 | 4:52.16 | 316856 | 338771
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Filename C:\Users\Grant\Desktop\Dorothee Oberlinger, Christian Rieger - Bach - a due per Flauto e Cembalo.wav
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Test CRC EF4904E4
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==== Log checksum B12EE5E8A9CAF55656C0BA28D867A53CA359951785CCE7EEFDFACB21E7CC495D ====
Thanks to the original releaser