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D O R OT H E E O B E R L I N G E R E D I N K A R A M A Z O V D I A L O G E J O H A N N S E B A S T I A N B A C H Recording: 29 August – 1 September 2020, Deutschlandfunk Kammermusiksaal, Köln/Cologne (DE) 1 Choral Prelude “Nun komm, der Heiden Heiland” BWV659 3’44 Recording Producer: Peter Laenger (from / aus Leipziger Choräle) Sound Engineers: Michael Morawietz, Christoph Schumacher Recorder & Lute / Blockflöte & Laute Executive Producers: Dr. Christiane Lehnigk, Thilo Braun (Deutschlandfunk); Michael Brüggemann (deutsche harmonia mundi) Concerto in D minor BWV 974 (after Alessandro Marcello’s Oboe Concerto) Konzert d-Moll (nach Alessandro Marcellos Oboenkonzert) Text: Dorothee Oberlinger with support of Bernd Heyder Recorder & Lute / Blockflöte & Laute English translations: texthouse 2 Andante 3’12 Art direction and photos: Johannes Ritter 3 Adagio 3’17 Johann Sebastian Bach: Elias Gottlob Haußmann (1695–1774), 1748 4 Presto 3’48 Sonata in G minor (orig. E minor) BWV1034 / Sonate g-Moll (Orig. e-Moll) Recorder & Lute / Blockflöte & Laute A Coproduction with Deutschlandfunk 5 Adagio ma non tanto 3’09 6 Allegro 2’46 7 Andante 3’13 8 Allegro 5’03 P 2021 Deutschlandradio / Sony Music Entertainment Germany GmbH C 2021 Sony Music Entertainment Germany GmbH From Suite for Cello No.1 BWV 1007 / Aus der Suite für Violoncello Nr.1 www.sonyclassical.de Lute solo / Laute solo 9 Prelude 3’16 Sonata in F major (orig. E major) BWV1035 / Sonate F-Dur (Orig. E-Dur) Recorder & Lute / Blockflöte & Laute 10 Adagio ma non tanto 2’16 11 Allegro 3’14 12 Siciliano 3’47 DOROTHEE OBERLINGER Recorder / Blockföte 13 Allegro assai 3’12 Soprano Recorder in c´´ a415 after Bressan by Ernst Meyer dit le Bec, Paris 2003 Alto Recorder in f´ a415 after Denner by Ernst Meyer dit le Bec, Paris 2003 Alto Recorder in f´ a415 after Bressan by Ernst Meyer dit le Bec, Paris 2008 From “Solo pour la flûte traversière” in C minor (orig. A minor) BWV 1013 Voice Flute in d´ a415 after Bressan by Ernst Meyer dit le Bec, Paris 2008 Aus „Solo pour la flûte traversière“ c-Moll (orig. a-Moll) Recorder solo / Blockflöte solo Voice Flute in d´ a440 after Bressan by Ernst Meyer dit le Bec, Paris 2008 14 Allemande 4’44 EDIN KARAMAZOV Lute / Laute Lute after Matteo Sellas (1640) by Nico van der Waals, 1995 Suite in C minor BWV 997 / Suite c-Moll Recorder & Lute / Blockflöte & Laute 15 Preludio 3’31 16 Fuga 5’25 Track 1, 2–8 & 15–18: arranged by/ bearbeitet von Edin Karamazov & Dorothee Oberlinger 17 Sarabande 4’00 Track 9: arranged by/ bearbeitet von Edin Karamazov 18 Gigue & Double 6’35 Total Time: 68’12 2 A JOURNEY THROUGH JOHANN SEBASTIAN BACH’S MUSICAL UNIVERSE Two noble and at the same time intimate instruments from the world of Baroque chamber music appear together in a series of dialogues in the present album: the recorder and the lute. Together they take us on a journey through the world of Johann Sebastian Bach’s chamber music. There are no original compositions for our line-up by Bach him- self. In the course of his life, however, he has repeatedly reworked his own works or works by other composers, sometimes for completely new instrumentations.We have taken this practice as a model for our arrangements. Many of Bach’s works for the flute may well have been inspired by the principal flautist of the internationally famous Dresden Hofkapelle, the French flautist and teacher Pierre- Gabriel Buffardin. In the earlier part of his career Buffardin had taught the flute to Bach’s older brother, Johann Jacob, who played the oboe in the Swedish army of King Charles XII and who was in Constantinople at the time. Several of Johann Sebastian’s pupils likewise applied themselves to the flute, not least of whom was his son Johann Gottfried Bernhard. And then there was Frederick the Great of Prussia, the flute-play- ing king whose orchestra included another of Bach’s son, Carl Philipp Emanuel, who played the harpsichord and accompanied his employer’s performances. Like Buffardin, the Dresden court’s distinguished lutenist Silvius Leopold Weiss was also a welcome visitor to Bach’s house in Leipzig, where the two musicians even performed duets together. According to a surviving report of a visit paid by Weiss and his pupil Johann Kropfgans in August 1739 “something extra fine in the way of music” took place on that memorable occasion. The works that are included in the present release were all inspired by this picture of the members of Bach’s household performing music together. Documented here is a wide range of pieces extending from the art of the solo composition to the sonata with continuo accompaniment and arrangements of a lute suite and of a harpsichord piece. This last-named work is itself an arrangement, the result of what was a current practice in the Baroque. Our recording opens with a version of the chorale prelude Nun komm, der Heiden Heiland BWV 659 for voice flute (tenor recorder in d´) and lute. It may be found in a Leipzig manuscript of Bach’s that includes chorale-based organ compositions dating back to his time as court organist in Weimar between 1708 and 1717. The art of counterpoint invol- JOHAN N SEBASTIAN BACH ving an existing cantus firmus is combined here to impressive effect with a freely orna- mented lyrical version of the melody in the upper voice. But our programme also includes two of Bach’s most famous original sonatas for flute and continuo. The four-movement Sonata BWV 1034 is believed to be the earliest of his surviving sonatas for flute and continuo and is reckoned to have been written between 1717 and 1723, when Bach was the Kapellmeister at the court of Prince Leopold of Anhalt-Cöthen, although it may also have been composed after Bach was appointed to the post of Kantor at St Thomas’s in Leipzig in 1723. From 1729 he ran a collegium musicum made up of local students who performed public concerts every week. Its vir- 3 tuoso members were also given the opportunity to perform solos. The soloist in this purposes of the present release. In the years around 1713 Bach had taken a detailed inter- Flute Sonata, with its many minor-key harmonies, could display the melancholy colours est in the concertos of Antonio Vivaldi and of his Italian contemporaries and transcribed of his instrument more especially in the opening Adagio, while the following Allegro pro- a number of them for the solo harpsichord. It is possible that at this point Bach was una- vides a chance to show off his or her dexterity. A second pair of movements made up of ware that among these concertos was one by Alessandro Marcello, who was well known a lyrical Andante and a concertante Allegro explores further fascinating facets of the inter- as a musical dilettante of aristocratic birth and as a member of the Accademia play between solo and accompanying instrument. dell’Arcadia in Rome. He was also the brother of the composer Benedetto Marcello, The Sonata BWV 1035 was almost certainly written much later and is bound up with whose writings include the pamphlet Il teatro alla moda. The D minor Concerto was be- Bach’s visit to Berlin in the late summer of 1741. His son Carl Philipp Emanuel had lieved to be by Vivaldi until the nineteenth century, when it was attributed first to been appointed Frederick the Great’s harpsichordist soon after the new king’s accession Benedetto and finally to Alessandro Marcello. Bach decorated the Adagio with elaborate to the throne. Bach dedicated a copy of his sonata to Michael Gabriel Fredersdorf, another ornaments in Italian and French style, and the corner movements also contain divisions. amateur flautist who was the king’s valet and private secretary. The opening Adagio ma The Partita BWV 997 was written for the lute or Lautenwerck, a lute-harpsichord that non tanto contains a large number of galant ornaments, including the tierces ornées that was popular during the Baroque. But the suite’s beautiful and songlike upper line lends Frederick particularly liked – these consist of two intermediary notes added to a descen- itself to a performance on the flute and continuo. A four-movement piece, it is one of ding third to produce the effect of a sigh. The third movement is a slow Siciliana and Bach’s later compositions. The strictly two-part Preludio is permeated by sigh-like begins in C sharp minor before modulating imaginatively to other keys. The flute’s ope- motifs. Between an extended and freely worked Fuga and a melodically delightful Gigue ning theme is taken up by the bass a bar later and treated in canon. This Siciliana is with a virtuoso double is a Sarabande whose upper line recalls the final chorus of the framed by two quicker movements that are no less galant in character. The first recalls a St Matthew Passion. rigaudon, the second a polonaise. With its sequence of dance movements, the entire work Dorothee Oberlinger could be regarded as a sonata da camera in which the opening Adagio assumes the functi- on of a prelude. It was almost certainly in Cöthen that Bach wrote all his finest pieces for a solo melody instrument. His autograph score of his Six Sonatas and Partitas for solo violin dates from 1720, while the surviving handwritten copy of his Six Suites for unaccompanied violoncello that was prepared by his wife Anna Magdalena Bach likewise dates from this period.

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