This set includes two of the rarest and hardest to find of all recordings: the 1958-59 version of the Bach Cello Suites by Janos Starker – the one everyone says his later recordings cannot match – and the extremely beautiful performance of Bach's unaccompanied violin sonatas and partitas – the one that Japanese collectors pay 3-digit dollar prices for – in outstanding EMI Digital Re-Masterings.
"…The program is effectively organized, with concertos and suite excerpts giving way to chorales that showcase Mosnier's rich tone at the end. Listeners committed to hearing Bach on the flute may enjoy this release…"
Magali Mosnier, the principal flutist of the Orchestre Philharmonique de Radio France under Myung Whun Chung, is touted as a rising star of the flute. This 2009 release with the Stuttgart Chamber Orchestra under Michael Hofstetter was her second release on the Sony Classical label. She's undeniably charismatic, and the album gives hints of the ravishing tone she has brought to solo flute parts in the orchestral repertory. Moreover, the arrangements added to fill out an album after the exhaustion of Bach's few original works for the transverse flute (the majority are by Andreas N. Tarkmann and Wilhelm Mohr, a few by Mosnier herself) are artful and varied; they wouldn't have seemed out of place to Bach himself…
The Father, the Son and the Godfather is a snapshot of a time when composers were offered a tremendous freedom in their choices of genres and styles and features three composers who knew each other well: J.S. Bach (the father), C.P.E. Bach (the son) and Georg Philipp Telemann (CPE’s godfather). We thus get Johann Sebastian’s rigorous, intellectually demanding Sonata in B minor, ample examples of the elegant and tender Empfindsamer Stil of his son C.P.E., and in two Trio Sonatas a taste of Telemann’s ‘world music’.
Anna Gourari is a young musician steeped in the venerable Russian piano school, its technical verities and Old World glamour. She has “a very physical, even visceral quality to her music-making that conjures the sound of such golden-age figures as Horowitz and Cortot,” declared Fanfare. With her ECM debut, Gourari offers a set of “Canto Oscuro”: dark songs. The pianist performs two of the most affecting of J.S. Bach’s chorale preludes – “Ich ruf’ zu Dir, Herr Jesu Christ” and “Nun komm’ der Heiden Heiland” – in arrangements of quiet sublimity by Ferruccio Busoni.
C.P.E. Bach’s two surviving oboe concertos both began as keyboard concertos that were later transcribed for oboe; their intended performer was probably Johann Christian Fischer, a virtuoso based in Potsdam in the mid 1760s. This would perhaps account for their technical and immensely challenging solo lines, which suggest that, like his father, Carl Philipp Emmanuel revelled in pushing instruments and performers to their limits.