Lets just establish
a few basic facts about Bach’s Flute
Sonatas. First, they were definitely
written for the transverse flute and
not as is sometimes asserted
in old text books for the recorder.
Some, if not all, go too low for the
standard treble recorder. However they
are now sometimes played on recorder
and editions are available, transposed
into recorder-friendly keys. The normal
transposition is up a third. This is
sometimes done with flute sonatas of
the 18th Century but there
is no evidence that Bach ever treated
them thus.
Secondly, and despite
Philippa Davies’ heroic attempts in
her excellent booklet notes, dating
these works has proved to be something
of a minefield. Few of Bach’s autographed
copies survive and the ones that do
seem to be rearrangements of works found
elsewhere. It is therefore a fruitless
exercise to attempt the dating which
is why I list them above in the order
they are presented on the CD. Having
said that, it should be added that the
great Johann Joachim Quantz demonstrated
the flute and played it throughout Europe
in the 1720s. Indeed having heard the
sonatas Vivaldi went off and immediately
devised a set of six concertos himself.
There is no doubt that Bach fell in
love with the instrument at this time
not only as evidenced in these five
sonatas but also in his use of the flute
in the Brandenburgs and even in the
B minor Mass.
Highlights in the sonatas
should definitely include the well known
but all too short Siciliano in the E
flat sonata a work which is more like
a trio sonata in form than a true sonata.
The long B minor sonata, possibly the
last to be written and which may date
from about 1736 is a real demonstration
of Bach’s fecundity of ideas. Just listen
to the Presto finale which eventually
launches into a bright and highly syncopated
gigue. Next, the E minor sonata, thought
by Philippa Davies to be probably the
first composed. It is reminiscent of
the old style sonata da chiesa but
with ritornello sections found in the
new style concerto forms propagated
by Vivaldi. I would also mention the
finale of the A major sonata. This version
has been most successfully completed
by Barthold Kuijken.
So what about this
recording, and performance? Without
wanting to be too flippant these are
the kind of performances you would give
to your mother-in-law. They are solid,
dependable and above all musical. They
do not set the world alight but the
music is played just as you would normally
want to hear it. For example dynamics
on the flute are exceptionally limited.
Davies who uses a modern wooden instrument,
like all good players, goes in for delicate
shading. Phrases taper off and rise
with the music allowing a natural dynamic
to take shape. Maggie Cole however has
the disadvantage of an inexpressive
instrument in the harpsichord. The one
used here is a copy of a 1749 Goujon
by Andrew Garlick. It has a clear and
even tone, but the impression given
is of a single manual instrument. Alison
McGillivray plays a cello of c.1714.
I would have liked the balance to have
been more in its favour. When heard,
the tone seems ravishing and firm. Anyway,
surely more bass would have been beneficial.
Having said all that
this all-female team play beautifully
as an ensemble and are a real pleasure.
Gary Higginson
Philippa Davies (Flute); Maggie Cole (harpsichord);
Alison McGillivray (cello) 
