The title of this release is thoroughly misleading. The album contains nothing like the ''Complete Flute Sonatas'' of C. P. E. Bach but only those for flute with obbligato harpsichord, of which there are but five. Eleven others for flute and continuo are omitted, along with Bach's single work for unaccompanied flute. Instead, the remaining five sonatas in the programme consist of two (BWV1020 and 1031) whose authorship has long been a matter of dispute; a trio for flute, violin and bass (H578) in which the violin part has been taken over by the right hand of the keyboard; another (H543) in which a similar adjustment has been made to Bach's two differently scored originals; and a duet for violin and harpsichord (H504) in which the violin part is taken by the flute. So, you can see that the title of the album is somewhat economical with the truth, though the accompanying essay by Barthold Kuijken clarifies the position.– Nicholas Anderson, Gramophone [5/1994]
J. S. Bach's second son, C.P.E. Bach, described the six Sonatas for Violin and Cembalo as "among the best compositions of my dear departed father", and went on to say how well they sounded and what pleasure they still gave him, although written some fifty years before. Over 300 years later these pieces still sound fresh and delightful.
A very finely-played recording which takes virtually 'all' repeats, one of the best performances of Goldberg Variations. The instrument played by van Asperen is a two-manualed harpsichord by Michael Mietke of Berlin (1719), who crafted a harpsichord for Bach while he lived in Coethen.
The Dutch performer Bob van Asperen is a recognized specialist in the realm of performance on period keyboard instruments. Born and raised in Amsterdam, Asperen completed a conventional university course of study in music before embarking on lessons with harpsichord master Gustav Leonhardt starting in 1967; Asperen made his debut in Haarlem in 1968. Also in 1968 Asperen joined the group Quadro Hotteterre, of which he was a member until 1984. Asperen completed his studies in 1972 after finishing a course in organ at the Amsterdam Conservatory given by Albert de Klerk. Afterward he accepted a teaching post at the Royal Conservatory in The Hague, which he held until tapped to replace the departing Gustav Leonhardt at the Sweelinck Conservatory, prompting Asperen's return to Amsterdam. His teaching duties in the Netherlands have not restrained him from touring internationally; Asperen has given master classes elsewhere in Europe and also Canada, the United States, and Australia.
BOB VAN ASPEREN born in Amsterdam in 1947, Bob van Asperen studied harpsichord and organ with Gustav Leonhardt and Albert de Klerk at the Conservatory there, studies he finished in 1972 by obtaining the soloist diploma ‘cum laude’. His career, since then, has taken him to all European countries, the United States of America, Canada, Australia and Japan, with harpsichord, organ and clavichord recitals and collaboration with Anner Bylsma, Bart Kuijken, Klaus Mertens, Lucy van Dael, and Thomas Pietsch, among others. He also conducts baroque ensembles and orchestras, including the Orchestra of the Age of Enlightenment, the European Union Baroque Orchestra, l’Orchestra della Toscana and the Collegium Vocale Gent…
Handel’s successful blend of new composition and arrangements of existing pieces in his Op. 4 organ concertos is winningly conveyed by this excellent recording. Van Asperen’s stylish playing and appropriate registration, aided by sensitive orchestral support, emphasise this music’s startling diversity. No. 1’s improvisatory organ solos; the expressive contrast between violin and cello concertino and organ in No. 3, and the enchanting atmosphere of the more delicately scored No. 6 are notable highlights.– Nicholas Rast, BBC Music Magazine
In terms of their reputations, it is the misfortune of both Albinoni and Telemann that they shared their time and space with Vivaldi and Bach - respectively, the nonpareils of Venetian Baroque and Baroque everywhere else. Nonetheless, these oboe concerti of Albinoni testify to the considerable talents of the Red Priest's contemporaries. Three of the four concerti that begin CD1 (those in d, C and g) are probably the equals of anything that Vivaldi wrote for this instrument. They show the 51 year old composer (former dilettante now turned professional) at the height of his powers. Telemann's works on these discs, meanwhile - and especially the wonderful Sonata in g from 'Tafelmusik III' - show him at his most inspired…By Jon Chambers (Birmingham, England)