she participated in several recordings by the Berry
Hayward Consort devoted particularly to Italian music from
the time of Frescobaldi and to music by Juan del Encina.
she issued on the La Follia Madrigal label a record (LFM
12031) devoted to the Partita and to sonatas by
J. S. Bach for recorder and obbligato keyboard
accompaniment, with the harpsichordist Mario Raskin.
years she has played in concert during the Saisons
Musicales de Montsoreau, particularly with the
harpsichordist Mario Raskin, performing as well in other
2007 she published a soprano recorder method with
Editions Henry Lemoine.
taught recorder and early music in several conservatories,
and is actually teaching in the conservatories in Bagnolet
(Seine Saint-Denis) and Le Kremlin-Bicêtre (Val de Marne).
She is member of ERTA-France, European Recorder Teachers
Graphic conception: Olivier Wiesner, Francis Rotstein
The repertory and the expressive resources of the
recorder are generally unfamiliar to the general public. The esthetic
of its timbre is related to that of the organ, while providing it with
the richness and depth of wood. The sonatas for violin by Johann
Sebastian Bach lend themselves particularly well to performance on
this instrument, which reveals them in a new light.
All the sonatas on this disc are among the sonatas
for obbligato (or concertant) harpsichord; they differ from the
sonatas with thoroughbass in their contrapuntal and harmonic
conception, thus evincing a texture in three voices of equal
importance, in constant, flowing dialogue between the two instruments,
a balance of the voices that the recording techniques chosen were
intent on enhancing.
In his recording the widespread practice of
“re-instrumentation” or self-transcription for different instrumental
forces, affords the modern instrumentalist a liberty that enables the
recorder to give life and breath, given the warm qualities of timbre
that are its hallmark, to a repertoire of incomparable richness.
The programme of this recording was designed to
highlight the warm sonorities of the harpsichord and the recorder
following three facets: sonatas transcribed for flute, those written
for flute and the Partita for flute solo.
The BWV 1017 and 1029 sonatas were written for
violin. The transcriptions consist in modifying keys and octave
transposition so that the writing is adapted to the recorder range. No
other modification was made. However, it is worth noting that the
practice of transcription was particularly widespread from the Middle
Ages through Bach’s era. Johann Sebastian Bach himself revisited any
number of his own works by modifying the instrumentation.
The BWV 1020 and 1030 sonatas are among the sonatas
for flute, whereby the very question of instrumentation may be raised
in relation with certain manuscripts. The sonata BWV 1020, while still
published under the name of J. S. Bach in certain editions,
is nowadays attributed rather to one of his sons, Carl Philipp
Emmanuel. Its stylistic difference from the other sonatas, present to
be sure but by virtue of its position in this recording, provides an
opening onto the future.
The sonata BWV 1030 represents one of the finest
sonatas for flute; the first movement Andante is the longest ever
written by Bach in his flute sonatas, the motifs move about in
responses and dovetailing between the two instruments in a context of
considerable textural density.
The Partita BWV 1013 for solo flute presents an
enigma for any wind instrumentalist: practically no rest or
articulation throughout the suite of dances. Bestowing meaning on the
work thus becomes ceaseless exploration of phrasing within perpetual
Nathalie Rotstein-Raguis Translation Kurt
Paris, july 2012