Rebecca Troxler P La Y S F L U T E M U S I C B Y S O N S O F B a C H

Rebecca Troxler P la y s F l u t e M u s i c b y S o n s o f B a c h

Acknowledgments Producer: Kevin Ryan

CD 1: Dwight Robinette recording engineer Editing: Rebecca Troxler and Kevin Ryan Recorded in Baldwin Auditorium, Duke University Mastered by Jonathan Wyner, M Works Studios, Cambridge, Massachusetts

CD2: Christopher Greenleaf recording engineer Editing: Rebecca Troxler and Andrew Willis Recorded in the Organ Recital Hall, UNC-Greensboro Mastered by Jonathan Wyner, M Works Studios, Cambridge, Massachusetts

Cover art: Allan Troxler

Special thanks to Jane Hawkins and Scott Lindroth for all their support at Duke University, and to Jonathan Wyner for his remarkable mastering.

Dedicated in loving memory of Grace Ann Krumdieck (October 13, 1998-December 28, 2013)

www.albanyrecords.com TROY1490/91 albany records u.s. 915 broadway, albany, ny 12207 tel: 518.436.8814 fax: 518.436.0643 albany records u.k. box 137, kendal, cumbria la8 0xd tel: 01539 824008 with David Schulenberg fortepiano Brent Wissick cello © 2014 Albany Records made in the usa DDD warning: copyright subsists in all recordings issued under this label. Steven Lubin fortepiano Gesa Kordes viola Sandra Miller classical flute Barbara Blaker Krumdieck cello Andrew Willis fortepiano The Music In 1740 or 1741 Emanuel became court keyboardist to King Frederick “the Great” of Prussia, serving him in Berlin and Potsdam until 1767. He probably helped Friedrich gain his own court position, for in 1749 the CD1 latter became chamber musician to Count Wilhelm of Schaumburg-Lippe, a political ally of King Frederick. The five works on the first compact disc are by two of the sons of Johann Sebastian Bach, and all but one are Friedrich remained at Count Wilhelm’s court of Bückeburg in northwest Germany for the rest of his life. His examples of what were known at the time as trios. Yet they are a diverse group, reflecting not only the distinct only significant travel was in 1778 to visit Emanuel, who had moved to nearby Hamburg, and to London, styles of their two composers but also the various types of sonatas written by them and their contemporaries. where he left his son Wilhelm Friedrich Ernst to study with his uncle Johann Christian. Friedrich returned to Bückeburg with an English piano, and his music subsequently exploited the capabilities of the highly J. S. Bach had no fewer than five sons who became professional musicians; all were keyboard players, and regarded instruments then being made in England. four of them were composers. The oldest, Wilhelm Friedemann (1710–84), was a brilliant improviser who wrote down comparatively little music; the youngest, Johann Christian (1735–82), was a prolific composer The three compositions by Emanuel Bach recorded here all date from relatively early in his Berlin period, of symphonies, operas, and chamber music who exerted a decisive influence on the young Mozart. when he was making himself known as a brilliant player and composer primarily of keyboard sonatas and concertos. He had, however, been composing solo and trio sonatas for the flute since his student days in Between them came Carl Philipp Emanuel (1714–88) and Johann Christoph Friedrich (1732–95). They Leipzig. These were probably among the things that had brought him to the attention of King Frederick, who were actually half-brothers, for Emanuel’s mother, Maria Barbara Bach, died when he was just six, and he was an accomplished amateur flutist and composer. was brought up in part by Sebastian’s second wife (Friedrich’s mother) Anna Magdalena. Emanuel left the family home in Leipzig for university studies at Frankfurt-on-the-Oder barely two years after Friedrich was The best known of these three works is the sonata in A minor for unaccompanied flute (item 132 in Alfred born. But the two were on friendly terms later in life, exchanging letters and music. Wotquenne 1905 catalog of Emanuel’s compositions, still the standard means of identifying the composer’s works). It was composed at Berlin in 1747, the year of Sebastian’s famous visit to the court of King Frederick, Although all the Bach sons undoubtedly gained their most important training from their father, none which resulted in the Musical Offering. Music for unaccompanied flute was rare but not unheard of; in addition attempted to imitate his style. Sebastian appears to have encouraged each to strike out on his own and to to Sebastian’s partita in A minor, probably composed around 1720, Telemann—who was Emanuel’s godfather adopt music by younger and more fashionable composers as their models. —had published twelve fantasias during 1732–33. Emanuel’s is nevertheless the earliest known sonata for flute alone, and his only such work. By this date, however, he had composed at least nine sonatas for During a long career, Emanuel wrote more than a thousand works ranging from keyboard sonatas and flute and basso continuo (that is, a bass line for cello plus a partially improvised keyboard part). Whether concertos to songs (lieder) and sacred choral music. He is particularly known for his sometimes startlingly any of these were for the king is unknown; there were many other fine players of the instrument. original approach to harmony and rhythm. This is often manifested in dramatic pauses and other musical surprises, although he also composed delicate, expressively embellished melodies. Friedrich, who was Emanuel’s unaccompanied work is probably the longest of his twelve flute sonatas. It is certainly the never as well known as his brothers, nevertheless composed prolifically in virtually all the types of music most demanding, thanks to such details as the high F—rarely called for in eighteenth-century flute in which Emanuel and Christian were active. Often he appears to imitate one or the other of their quite music—near the beginning. Other challenges include concerto-style passagework or figuration in the quick distinct styles, sometimes adopting the expressive style of Emanuel and, especially after 1778, writing in movements and long, hard-to-breathe phrases throughout. Numerous wide leaps reflect the ingenious com- the more fluid if less striking manner of Christian. position of the single flute part to incorporate a bass line as well as the melody. Yet in other respects the work is in the form favored by King Frederick, whose flute teacher Quantz wrote hundreds of sonatas and Despite his close association with two of the century’s most famous flute players, Emanuel composed just concertos for the instrument. Thus it opens with a slow movement followed by two quick movements, both one work for two flutes and continuo. The trio in E (W. 162) dates from 1749; again it was composed at in a variety of sonata form. The first movement ends with an optional cadenza—surprising today, when we Potsdam, and again we do not know for whom it was written, although it too exists in the composer’s later associate cadenzas with the quick movements of a concerto. A short, elegantly expressive improvisation arrangement for keyboard and flute. The key is a difficult one on the eighteenth-century instrument, and was, however, expected here; both the king and Emanuel himself were famous for their performances of Emanuel must have expected it to be played by two accomplished flutists, perhaps in concerts sponsored slow movements, presumably including improvised cadenzas. by the fledgling musical societies (known as “academies”) that flourished at Berlin during this time.

The sonata in D, W. 83, was one of four “trios” that Emanuel composed in the same year at Potsdam, In both of Emanuel’s trios, each movement opens with one soloist introducing the main theme, which is outside Berlin. That year, 1747, also saw completion of the royal palace there known as Sanssouci, where then imitated by the other. The style was probably inspired by duets that Emanuel would have heard in the the king retreated to play chamber music with a few select musicians, including Emanuel. Whether the Italian operas that his colleague Graun was composing at the time for the king’s newly established royal latter’s compositions of the year were related in any way to Sebastian’s Musical Offering, which includes a opera house. Opening movements in both works are conversational and discursive; each closes with a trio sonata, is unknown. more dance-like movement in binary form, that of the E-major trio being notable for its lively humor. Both trios are particularly notable for their slow second movements, which are in minor keys. The Adagio of the Our work, Emanuel’s eleventh trio, was originally composed for flute, violin, and basso continuo (in that form E-major trio is remarkable for its expressive harmony. Whereas the Largo of the D-major trio pauses at it is listed as W. 151). But it was customary for one of the two melody parts—here that of the violin—to be the end for the traditional cadenza—originally a joint improvisation by the two soloists—in the later work taken over by the keyboard player, who also continued to play the bass line. Thus the original trio—which Emanuel wrote out the final cadence, which follows a pause on an expressive dissonance. was actually for four players—could be performed by just two. That the composer authorized the arrangement is documented by a much later manuscript copy of the work that includes a title page in his own hand The two trios by Friedrich Bach show how the genre had developed two and three decades later in the declaring it a “Sonata for Flute and Cembalo.” hands of a composer belonging to the next generation. The trio in A (no. VII/1 in the list of works by Hannsdieter Wohlfarth) was composed by 1770, when Emanuel included it in an anthology of music by The last word in Emanuel’s title calls for some comment. Usually translated today as “harpsichord,” the various composers that he published that year. Like Emanuel’s own trios, it can be played either by flute, Italian word cembalo could refer to any musical keyboard, including the early piano or fortepiano. When violin, and continuo, or by flute and “cembalo.” But Friedrich abandons the older imitative style, at least at Sebastian Bach visited Potsdam, he played on one of the king’s recently acquired fortepianos. Emanuel the beginning of each movement, where instead the flute plays the main theme accompanied by the two must have known these instruments well, and in his famous Essay on the True Manner of Playing other parts. He ends the work not with another ambitious binary-form movement, but with a smaller minuet Keyboard Instruments, published in two volumes in 1753–62, he praised the fortepiano especially for that alternates with a little “trio” (so called) in A minor. accompanying. Early examples of the instrument, quieter than those of today, were indeed well suited for accompanying the eighteenth-century flute. Friedrich’s trio in D (Wohlfahrt VII/4) is thought to have been written some ten years later, after his trip to England, and indeed it reveals an entirely different approach to both style and structure. Doubtless influenced by the popular instrumental compositions of his younger brother Christian, here Friedrich writes in what sounds to us like the Classical style of Haydn and Mozart. In fact this is the style that the latter learned from Christian Bach. In a manuscript copy of the individual parts, written out by Friedrich in his tiny, meticulous script, he entitled CD2 this a “Sonata for solo keyboard, accompanied by flute or violin and cello.” That was the current way of Mozart once wrote to his father about the art of composition, “Bach is the father; we are the children. describing what we now call a piano trio: a new type of chamber piece in which the keyboard instrument Whoever among us can do something right has learned it from him.” It may come as a surprise to learn has its own part, rather than merely accompanying or substituting for an original flute or violin. By this date that Mozart was referring to Carl Philipp Emanuel Bach, not his more-famous-to-us father, Johann Christian and Emanuel Bach had published similar works, and Haydn and Mozart would soon follow. But in Sebastian Bach. Carl Philipp Emanuel was the second son of Johann Sebastian, and during his lifetime one respect Friedrich Bach was ahead of them all, for in their piano trios the keyboard instrument has by enjoyed an international fame far eclipsing that of his father. He was recognized as one of the great- far the most prominent part. Contrary to what we expect today, the two other parts are secondary, indeed est harpsichordists and clavichordists of his day, and his theoretical writings influenced generations of accompanying the piano as suggested by Friedrich’s title. (The keyboard instrument is assuredly a piano, composers. A crucial figure in the shift from the Baroque to the Rococo style, Emanuel Bach was also one not a harpsichord, as the composer’s crescendo indication in the opening phrase makes clear.) of the founders of the Classical style later perfected by Haydn and Mozart. His historical importance is unquestioned, but only recently have performers and audiences come to recognize the tremendous artistic Yet Friedrich gives the flute (or violin) an equally prominent role. Although here the cello merely reinforces value of his work. That artistry is in great evidence in the five works recorded here, all written near the end the bass line, in other works Friedrich gives the latter instrument an obbligato role as well. Indeed, he may of Bach’s long life. have preceded Beethoven in writing the first genuine duo sonata for cello and keyboard. With this in mind, it is not surprising that Friedrich’s trio in D is entirely Classical in style. It even concludes with a rondo, Born in Weimar in 1714, Emanuel Bach was clearly destined for a musical career. He received his musical which was a favorite for Christian Bach as well as Haydn and Mozart. Friedrich marks this movement education from his father and often took part in his father’s performances at Leipzig’s Thomaskirche and “Scherzo,” but it is not the special Beethovenian type of scherzo. The heading rather refers to the movement’s Collegium Musicum. He studied law at the university but remained prominent in musical activities during playful character, expressed in its light rhythm, resembling that of a jig. his studies. Shortly after obtaining his law degree, he was appointed to the service of the crown prince Frederick II of Prussia (“Frederick the Great”); and when Frederick ascended the throne in 1740, Bach All these pieces were probably performed not only at home, by cultivated amateur musicians, but at the became a member of the royal orchestra. Frederick was an accomplished and enthusiastic flutist, and increasingly frequent gatherings of musicians and music-lovers that were the eighteenth-century ancestors Bach was accorded the honor of accompanying Frederick in his first solo concert as monarch. Bach was to of the modern public concert. In London, J. C. Bach led a famous public concert series, as did Emanuel remain in Frederick’s retinue as a royal harpsichordist for nearly thirty years. Bach at Hamburg. In Bückeburg, Countess Juliane sponsored public concerts after 1780 in which Friedrich Bach probably played works such as his D-major trio. Typically these events featured professional soloists Frederick was a great admirer of the galant style of music then in vogue. Galant music was intended to accompanied by amateur players; an evening might begin with a symphony followed by any number of please and amuse listeners without unduly straining them. It featured light textures, clear periodic phrasing, solos, trios, even arias. Few printed programs survive, but we can be reasonably certain that pieces such highly melodic writing, and simple harmonic structures. It also tended to avoid deep emotional content. as these were heard in the homes and music rooms of northern Europe until the end of the century. Much of the music Emanuel Bach wrote for Frederick is in the galant style. Although Bach could compose —David Schulenberg quite brilliantly in this style, he was truly his father’s son: to Bach, the purpose of music was not merely to amuse listeners but rather to express the full range of human emotion. By nature, Bach gravitated toward the Empfindsamer Stil in music— the “sentimental style” that featured dramatic contrasts of tempo, dynamic, and mood, and indulged in chromaticism and coloristic effects. This hyper-expressive music was the diametric opposite of the galant music Frederick loved. Perhaps this is why Bach did not fare so well The Three Quartets for Fortepiano, Flute, Viola, and Bass recorded here were written in 1788, the last year under Frederick: for all of his years of service, for all the compositions he wrote for Frederick, and for all of Emanuel Bach’s life, and are magnificent examples of the use to which the composer put the “complete his brilliant performances at the harpsichord, Bach was never credited as an official composer or virtuoso freedom” he found in Hamburg. All three quartets show that Bach was very interested in the coloristic pos- of the court. sibilities of this unusual combination of instruments. He creates several distinct sound worlds within these works: we hear the sound of the flute and viola contrasted with the sound of the solo piano; we hear the In 1768, Emanuel Bach left Frederick’s court and took an appointment as the director of sacred music flute and the right hand of the piano contrasted with a strong rhythmic bass provided by the viola, cello, in Hamburg, a city that was to prove an ideal landing spot. His time there was musically and personally and left hand of the piano; we hear the rapid-fire interplay of motives between all four instruments, like a rewarding: he developed a circle of friends at the university, including some of the foremost German writers stimulating four-part conversation at the dinner table; we hear all four instruments in tandem, the sound of the time, and he achieved a very comfortable level of prosperity. Significantly, Hamburg was a free city of unanimity and resolve. Many of the defining elements of Bach’s Empfindsamer Stil are clearly audible: with no court to impose standards of taste. Bach had free rein to compose as he wished. And compose he the sudden rests and interruptions, the abrupt changes of mood, the daring modulations, the expressive did: tremendous quantities of music date from his years in Hamburg, including keyboard music, chamber chromatic writing. Most interestingly, we also hear an overarching classical sense of form and motivic music, sacred music, concertos, and symphonies. Bach’s relief at being liberated from the musical dictates unity, and a dramatic thrust that would not be out of place in a work from the Romantic era. of Frederick’s court is palpable in this passage from his autobiography: Although Emanuel Bach was generally a forward thinker in his music, he nonetheless stuck with some Because I have had to compose most of my works for specific individuals and for the public, old-fashioned habits. Bach called these works “quartets”—but a quartet did not necessarily call for four I have always been more restrained in them than in the few pieces that I have written merely players or four instruments. In the early and mid-eighteenth century, musical works were classified by for myself. At times I even have had to follow ridiculous instructions, although it could be that the number of independent written-out obbligato voices involved. “Trios” always involved three obbligato such not exactly pleasant conditions have led my talents to certain discoveries that I might not parts but were usually played by four musicians—perhaps a flute and violin playing the two upper melodic otherwise have come upon. parts, and the cello together with the left hand of the keyboard playing a bass line in unison. The right hand of the keyboard was not written out; the keyboardist was expected to improvise and fill in the texture as Since I have never liked excessive uniformity in composition and taste, since I have heard such needed. Three written-out obbligato parts, even if played by four or more instruments, meant a trio. Johann a quantity and variety of good [things], since I have always been of the opinion that one could Sebastian Bach even composed “trios” for a single musician to play: in his trio sonatas for organ, he derive some good, whatever it may be even if it is only a matter of minute details in a piece, considered the right hand of the organ, the left hand of the organ, and the pedal part as the three obbligato probably from such [considerations] and my natural, God-given ability arises the variety that has voices. By the time Carl Philipp Emanuel wrote his quartets, this method of classification had given way been observed in my work.... Among all my works, especially for keyboard, there are only a few to the modern practice of describing pieces by the number of instruments involved—but Emanuel Bach trios, solos, and concertos that I have composed in complete freedom and for my particular use. retained the older system of nomenclature his father had used. Emanuel Bach’s “quartets” feature four obbligato parts: the flute, the viola, the left hand of the piano— a sea-change in the musical culture of his day: for the first time, composers sought a professional life that might or might not be doubled by a cello—and the right hand of the piano, here written out in full outside of the relatively safe confines of the court or the church. This new engagement with a large and rather than improvised. Some groups perform these quartets with four players; others with only three. It is diverse public had tremendous ramifications for musical style. The most successful composers became not clear exactly what Bach intended, and both approaches have validity. The title page of the autograph aware of two distinct subsets within the public they needed to please. One subset of the audience—the states “Three Quartets for Fortepiano, Flute, and Viola.” The score and parts are written for just these three Kenner or “connoisseurs”—consisted of sophisticated listeners with a thorough understanding and appre- instruments—no cello part has survived. However, Bach kept a very meticulous catalog of the works he ciation for the nuances of the art; and the other subset— the Liebhaber or “amateurs”—consisted of composed, and his entry for the quartets includes the words “and bass.” those who were less learned in the arts and those who loved music but saw it primarily as entertainment and diversion. Composers needed to appeal to both the Kenner and the Liebhaber to ensure commercial In his recording of these works, pianist Andreas Staier defends his group’s choice to omit the cello: viability. But this was no easy task—only a very few succeeded at creating a personal style that balanced the needs of the two groups. We decided against the addition, because a cello running along in the good old basso continuo style would be directly contrary to the outstanding progressive composition of these pieces... One of those was Emanuel Bach. Between 1779 and 1787, Bach self-published six collections of keyboard What precisely would [the cellist] play? The piano part moves so freely that the answer to this music entitled Für Kenner und Liebhaber. These volumes contain sonatas, free fantasies, and rondos that question is anything but obvious. If Bach had seriously considered including a string bass part were challenging enough to appeal to sophisticated listeners, yet accessible to the general public. The [a cello part], it would have been a trifling for him to write it out. enterprise was a commercial success: the composition, publication, marketing, and sales of these works occupied Bach greatly in the last years of his life, and they brought him a profit several times greater than Nicholas McGegan, in his recording of these works, argues the opposite viewpoint: his annual salary.

That there should be a cello part is beyond doubt, since in a list of the contents of Bach’s estate, Although Bach originally intended to focus on sonatas in these collections, he chose to include fantasies which the composer himself drew up, these quartets are described as being for keyboard, flute, and rondos because of their greater appeal to the Liebhaber. Carl Philipp Emanuel, like his father, was a viola, and bass. Since there is no separate cello part, the player is expected to double the key- master improviser, and his written-out fantasies are the closest glimpse we can get of his genius in this board player’s left hand; this was a common practice at the time, but in this case the keyboard area. In his famous treatise on playing the keyboard, Emanuel Bach had written that “it is especially in writing is extremely idiomatic and almost too wide-ranging for the tradition. fantasias that the keyboard player, more than any other performer... can practice the declamatory style, and move audaciously from one Affekt to another.” This is a perfect description of the Fantasy in C Major, With cello or without cello, Bach’s three quartets are of great historical interest—but even more impor- H. 291, from the sixth volume of the Kenner und Liebhaber collection. Written in 1785-86, the work tantly, of great artistic value. displays all the hallmarks of the Empfindsamer Stil: sudden rests and interruptions, abrupt changes of tempo and figuration, wide-ranging moods (albeit within an overall jolly character), daring modulations, and In a well-known letter of 1782, Mozart wrote that his piano concertos featured “passages here and there expressive chromatic writing. from which the connoisseurs alone can derive satisfaction; but these passages are written in such a way that the less learned cannot fail to be pleased, though without knowing why.” Mozart’s letter points to Emanuel Bach commented that “the beauty of variety is made evident in the fantasia. A diversified figura- The Performers tion and all attributes of good performance must be employed.” Fantasias, with their unexpected, daring, abrupt contrasts and tremendous variety of keyboard textures, required much attention from the listener Flutist Rebecca Troxler is on the faculty of Duke University, where she has taught and therefore appealed primarily to the Kenner. Rondos, on the other hand, were quite popular with the flute and music theory since 1983, having made her Carnegie Hall debut the year Liebhaber because of their predictability. They featured consistent keyboard textures and attractive themes before. She received her training at the North Carolina School of the Arts and the that were repeated frequently, creating a sense of familiarity that comforted the listener. Bach combined Juilliard School and studied with Michel Debost in Paris. In 2000 she served on the both fantasia and rondo elements in the Rondo in C minor, H. 283, from the fifth volume of the Kenner und committee overseeing Duke’s G. Norman and Ruth G. Eddy Collection of Musical Liebhaber collection of 1784. Although Bach’s rondo fulfills the listener’s expectations with its attractive Instruments. A founding member of Orpheus Chamber Orchestra and the North themes and structural patterns—ensuring the approval of the Liebhaber—the work appeals to the Kenner Carolina Baroque Orchestra, she specializes in the music of J. S. Bach’s sons and with its “diversified figuration,” harmony, and mood—attributes more appropriate to a fantasia. Bach was other Rococo composers. This empfindsamer Stil repertoire shows off her warm a master of this type of genre blending, and it helped ensure the popular success of much of his music. tone, stylish phrasing and brilliant technique to thoroughly engaging advantage. Ms. Troxler can be heard —© 2012 Jeffrey Sykes, All Rights Reserved on the Arabesque, Albany and Centaur labels.

Violinist Gesa Kordes serves on the faculty of the University of Alabama School of Music as an instructor in early music and the director of the School of Music’s newly founded Early Chamber Ensemble program. She has performed as a soloist and chamber musician—and, increasingly, as a conductor—with numerous chamber ensembles and Baroque orchestras on both sides of the Atlantic. Ms. Kordes has recorded for NPR, Harmonia Mundi, FONO, Centaur, Dorian and Naxos.

Baroque cellist Barbara Blaker Krumdieck has performed throughout the United States and Western Europe and has recorded two CDs with Concerto Köln. She is a member of many chamber groups, including Ensemble Vermillian, with which she has recorded two CDs of seventeenth-century German chamber music and which is currently working on a project of seventeenth-century English music. With her sister Frances Blaker, Ms. Krumdieck is a cofounder of the North Carolina Baroque Orchestra. Fortepianist Steven Lubin, professor of music at the Conservatory of Music at Purchase College, Purchase, New York has recorded 20 CDs, mostly for major labels, and has received critical approbation worldwide. His recording of the five Beethoven piano concertos with Christopher Hogwood and the Academy of Ancient Music was named one of the most distinguished recordings of the year. Dr. Lubin has also released a series of highly acclaimed recordings for Harmonia Mundi USA. Flutist Sandra Miller is a member of the faculty of Juilliard’s Historical Performance Program. She has performed as soloist or principal flutist with many historical-instrument ensembles, including Concert Royal, of which she is associate director. Winner of the Erwin Bodky Competition for Early Music and recipient of a Solo Recitalist’s Fellowship from the National Endowment for the Arts, Ms. Miller has recorded the complete Bach flute sonatas and the three Mozart concertos on historical instruments.

Harpsichordist and fortepianist David Schulenberg is chair of the music department at Wagner College in New York City, where he also teaches in the Historical Performance Program at the Juilliard School. He specializes in music of the seventeenth and eighteenth centuries, particularly that of the Bach family. Dr. Schulenberg’s books include The Keyboard Music of J. S. Bach and The Music of C. P. E. Bach and the textbook and anthology Music of the Baroque.

Keyboardist Andrew Willis, a member of the faculty of the University of North Carolina at Greensboro, performs extensively in the United States and abroad. His recording of Beethoven’s Op. 106 was hailed by The New York Times as “a ‘Hammerklavier’ of rare stature.” A past president of the Southeastern Historical Keyboard Society, Dr. Willis directs the biennial Focus on Piano Literature at UNCG. He has performed J. S. Bach and Italian masters on a replica of a 1735 Florentine piano.

Cellist and violist da gamba Brent Wissick is professor of music at the University of North Carolina at Chapel Hill, where he has taught cello, viola da gamba and ensembles since 1982. His concerts have taken him throughout the United States and to Europe, Asia and Australia. President of the Viola da Gamba Society of America from 2000 to 2004, Mr. Wissick can be heard on the Centaur, Albany, Koch, Dux, Titanic, Radio Bremen and Wratislava Cantans labels. Rebecca Troxler Rebecca Troxler, classical flute

cD1 C.P.E. Bach J.C.F. Bach C.P.E. Bach

Sonata for Flute & Harpsichord in D Major, Sonata for Flute & Obbligato Fortepiano Trio Sonata for Two Flutes & Basso

Wot.83/H.505 in A Major Continuo in E Major, Wot.162/H.580 y b c i s u M e t u l F s y a l P troy1490/91 1 Allegro un poco [4:34] 7 Allegro [5:01] 13 Allegro [7:10] 2 Largo [5:52] 8 Andante [2:56] 14 Adagio di Molto [3:21] 3 Allegro [4:11] 9 Tempo di Menuetto [4:04] 15 Allegro assai [5:34] Sonata for Flute Solo in A Minor, Trio for Flute, Continuo & Obbligato Cello Total Time = 69:53 Wot.132/H.562 in D Major 4 Poco adagio [4:29] 10 Allegro [6:23] David Schulenberg, fortepiano (tracks 1-3, 7-9) 5 Allegro [4:10] 11 Adagio di molto [4:35] Brent Wissick, cello (tracks 10-15) 6 Allegro [3:22] 12 Allegro assai [4:05] Steven Lubin, fortepiano (tracks 10-15) a c h Sandra Miller, classical flute (tracks 13-15) B

f Rebecca Troxler, classical flute S o s n o

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C.P.E. Bach Quartet for Flute, Viola, Cello Quartet for Flute, Viola, Cello f

Quartet for Flute, Viola, Cello & Harpsichord in D Major, Wot.94/H.538 & Harpsichord in G Major, Wot.95/H.539 B h c a & Harpsichord in A Minor, Wot.93/H.537 5 Allegretto [5:24] 9 Allegretto [7:43] 1 Andantino [6:17] 6 Sehr Langsam und Ausgehalten [3:36] 10 Adagio [3:23]

2 Largo e sostenuto [3:48] 7 Allegro di Molto [5:21] 11 Presto [6:06] 3 Allegro assai [4:49] Total Time = 57:43 8 Fantasia in C Major for Fortepiano, 4 Rondo in C Minor for Fortepiano, Wot.61/6, H.291 [5:37] Gesa Kordes, viola Wot.59/4, H.283 [5:34] Barbara Blaker Krumdieck, cello Andrew Willis, fortepiano troy1490/91 Plays Flute Music by