Jean Pierre Rampal Bach Complete Flute Sonatas Vinyl 2-LP Record Gatefold VG+

Description: Yes we combine shipping for multiple purchases.Add multiple items to your cart and the combined shipping total will automatically be calculated. 1973 Jean Pierre Rampal Bach The Complete Flute Sonatas Vinyl 2-LP Record Gatefold VG+ Records Grade per Goldmine Standard: VG+ The works by Johann Sebastian Bach devoted tothe flute came into being over a space of ten years,between the end of the Weimar period and the be-ginning of the Leipzig period, from approximately1715 to 1725. Of course, if one wished to gain a fullidea of the complete role that the flute plays inBach’s total output, it would be necessary to mentionmany works besides the eight sonatas recorded here—sublime arias from the cantatas or the Passionswhere the flute has a solo role; concertos joining theflute with the violin or the keyboard (the Branden-burg Concerto No. 5 or the Triple Concerto in AMinor); trio sonatas for flute, violin and keyboard;the sonata for two flutes, etc. Nor should we forgetthe exquisite concerto for flute which goes underthe name of Suite in B Minor, nor (less well-knownbut equally beautifully) the Sinfonia for flute andstrings which opens the Cantata No. 209, Non sache sia dolore. And who does not remember thesupplicating strains of the two flutes at the climax ofthe choral and orchestral edifice of the Qui tollisfrom the B Minor Mass?Bach, in these various works, made use of twodifferent kinds of flute: the end-blown flute or re-corder (e.g., in the Fourth Brandenburg Concerto),and the cross flute, which is the familiar type usedin the modern orchestra. (All his flute sonatas are in-tended for the cross flute.) In Bach’s scores therecorder is called flauto and the cross flute is identi-fied as traverso or flauto traverso. For both theseinstruments Bach, according to the sentiment ofthe time, wrote in certain keys which were con-sidered "tender” and "plaintive” (A minor, E minor,B minor) and the major keys nearest these (therelative major: C, G, D; A and E major; and alsoE-flat major, placed in relationship with G minorrather than C minor in the Second and FourthSonatas with clavier). There were, then, a certainnumber of "tonal colors” appropriate to the flute-some to express sweet melancholy (G minor, A minor,E minor, B minor), some to express a bright viva-ciousness (E-flat major, C major, G major, D major,A major, E major). If familiarity with equal tempera-ment makes this type of classification seem some-what strained to us, it should be remembered thatthe ears of music lovers in 1720 could still recognizethe unequally tempered keys, in which the perfectchord of E-flat major was not identical with a simpletransposition of the chord of D major.With the exception of the G Minor Sonata, whichhas still not been established with certainty as awork of Bach, and which Schmieder considers tohave been written for violin rather than flute, thesonatas for flute and clavier (that is to say, those witha keyboard accompaniment entirely written out byBach) belong to the period when Johann Sebastian,obviously not content to worry about the limitationsof this or that instrument when composing, laid outhis ideas in remarkably broad form. The richness ofmusical content in these works is equalled only bythe ingenuity of theircomposition. Take, for example,the Sonata in B Minor. The 120 measures of itsinitial Andante, with their changes in note valuesfrom half-notes to thirty-second notes, put into playno fewer than six clearly marked motives. Suchmelodic richness is not surprising in a Mozart, per-haps, but here it is complicated by a contrapuntalweb which grows more tightly woven as the move-ment progresses. The superbly melodic theme thatopens the movement returns later in the guise of acanon at the octave; another motif, capricious andcaptivating in its chromatic dress, is destined tofurnish, upon its reappearance, the material for awinding, unpredictable canonic dialogue.One of the masterworks of Baroque art, thisAndante stands out for the breadth of its perspective,for the luxuriance of its melodic lines, for themasterly joining of rich chromaticism and recherchecounterpoint, and for the number, diversity and in-genious re-working of its themes. But it is equallyastonishing for the power and simplicity.of its entiretonal architecture: a tonic episode, a dominant epi-sode, a re-exposition (varied) of the tonic episode,and intercalated modulatory developments whichtouch on the tonalities of the third, sixth and,finally, fourth degrees of the tonic scale. The move-ment attains an extraordinary chromatic densityduring its course (for instance, all twelve .notesof the chromatic scale are heard in the space of'asingle measure—from the middle of measure 90to the middle of measure 91), but this audacitypasses almost unnoticed because of the perfectlogic of the melodic progression, of which harmonyis simply the vertical aspect. This piece, a kind ofmusical counterpart to a Diirer drawing, is balancedby a warmly ample Largo, a Presto which is nothingless than a lively three-voiced fugue, and anAllegro in 12/16 meter, which follows the Prestowithout pause and presents a vaulting, syncopatedmelody of the utmost capricious charm, borne alongon the rhythm of the gigue.All is peace and light in the Sonata in E-FlatMajor, whose Allegro moderato sparkles with joyousenthusiasm, whose Siciliano, now so well-known,sighs with utter grace, and whose final Allegro is aflight of brilliant sparks.Unfortunatey, the last page of the first movementof the Sonata in A Major is missing from the manu-script and must be reconstructed for this recording.The nostalgic Largo e dolce induces in the listeneran intensely peaceful contemplation, and the exuber-ant, final Allegro is so high-spirited that—a very rareoccurrence in Bach—when the first theme returnsat the end it is not handled in contrapuntal combina-tion, nor even with harmonic accompaniment, but inan enthusiastic unison for flute and clavier. If the BMinor Sonata shows us Bach at the summit of hisachievement in polyphony, a detail like this unisonpassage causes us to realize that Bach, as early as1720-30, already understood the concept of instru-mental fraternity and simplicity which was to be themusical ideal of the latter half of the eighteenthcentury.The G Minor Sonata is preserved only in a copymade by an unknown hand. Although some doubthas been cast on Bach’s authorship of this work,both the editor of the Bach Gesellschaft edition,Wilhelm Rust, and the great Bach scholar, PhilippSpitta, agree that it is an authentic composition of themaster. Spitta calls attention to the fact that theAdagio resembles the Largo of the Concerto for TwoViolins. The manuscript copy gives the solo instru-ment not as flute but as "violino.” But there areconvincing reasons to believe that the copyist waseither mistaken or was merely indicating that thesolo part could be performed on the violin. To quoteLeo Balet, who edited the sonata: "The lines andcontours of figures intended for violin are alwayssoft and pastel-like. Bach here requires black andwhite clarity and sharpness. The slurred thirds andespecially the leaps of a sixth in bars 34 and 35 ofthe first movement, for example, cannot be broughtout clearly by a violin in quick tempo. They presentnot the slightest difficulty to a flute.” Even moreconvincing, however, is the fact that the solo partnever descends below the D string of a violin, andBach certainly would not write a work for only thethree upper strings. We are obviously dealing witha flute sonata, and a charming one.The three Sonatas for Flute and Continuo areassigned to Bach’s Cothen period (c. 1720) bySchmieder, although a more recent scholar, N.Dufourcq, has given convincing reasons for their hav-ing been written at Weimar. These works are distin-• guished from the foregoing in that they do not con-tain fully realized keyboard parts but merely afigured bass to be realized by the performer. In thisrecording R. Veyron-Lacroix has, as it were, com-posed his own harpsichord part, basing it on Bach’sskeletal indications. The sonatas show the begin-nings of Italian influence on Bach, with their succes-sion of tempos and rhythms that are characteristic ofthe sonata da chiesa. The two minuets which formthe finale of the C Major Sonata are an exception.The Sonata in E Minor is more personal and re-velatory than the others in this series. The openingAdagio ma non tanto is a long melody whose open-ing configuration is twice repeated in the continuo,reinforcing the interest in an accompaniment whichis otherwise purely harmonic. In the Allegro thatfollows, sections of thematic exposition (the bassanswering the flute at the distance of a fifth, as infugato) alternate with sections of virtuosity in themanner of a solo concerto. The Andante unwinds itsgarlands over the rhythm of a free minuet, and theAllegro finale is marked by a regularity of rhythmsuggesting the obstinate and irresistible dynamic ofthe concertos of the Cothen period.In contrast to the E minor work, the Sonata in CMajor is unproblematic and frankly “decorative”music. The initial Andante serves as an intrada orintroduction to a Presto abounding in wide intervals,very much in the tradition of the Italian school ofviolin music. There follows an Allegro in the char-acter of a perpetuum mobile, a legato study in veloc-ity; then an Adagio of beautiful classic lyricism; andtwo Menuets played alternativo, that is, the first one(major) is repeated after the second (minor). Bachhas written out the accompaniment of the first.Because of the shape of its themes and the wealthof its harmony, the Sonata in E Major recalls certainof the more lyrically expansive church cantatas. Theopulent, melodic ornamentation of the solo part—and even of the continuo—ushers us into the worldof sound typical of Bach, the composer of instru-mental music, circa 1720; there is a characteristicbaroque richness in the melismas of the initialAdagio, promptness and certainty of design in theensuing Allegro, an expressive gravity in the Siciliano(that dotted rhythm so favored by Bach in the morepathetic slow movements of his concertos andreligious works), and grace and charm in the termi-nal Allegro assai, which is in triple rhythm but, un-like the finales of many similar works, has nothingabout it suggesting a fast minuet.The Sonata in A Minor for unaccompanied fluteis, in fact, a suite with an Allemande in perpetualmotion—a veritable test of the flutist’s breath con-trol; a Corrente, flowing on in an ItaIianate 34 rhythm,its layout recalling Bach’s solo violin works whichwere composed in the same period (Cothen); aSarabande in sustained cantabile style; and aBourree anglaise whose title paradoxically unitesAuvergne and Great Britain. (Bach undoubtedlywanted to suggest both the character of a duple-rhythm rustic dance and a vivacity approaching theold English “contredanse.”) This unaccompaniedsonata, like its brothers and sisters for violin andcello, can be done justice to only by a virtuoso per-former-From notes byOLIVIER ALAINJEAN-PIERRE RAMPAL, FluteROBERT VEYRON-LACROIX, Harpsichord“In a season marked by declining audiences for big-time pianists and violinists, Jean-Pierre Rampal,flutist, and Robert Veyron-Lacroix, harpsichordist,go on happily as always attracting full houses.” ThisNew York Times review of one of their sold-out per-formances in New York reflects the ever-increasingpopularity of a team of artists that has been makingmusic together for over twenty-five years.“The results of their collaboration may be mul-tiple, but the method is singular: so much are thesemusicians at one with each other in their perform-ances that they seem to be operating from a sharednerve centre.” (The Montreal Star)Jean-Pierre Rampal was born in Marseilles,France, where his father was the flute professor atthe Conservatoire. (Rampal once remarked, “I amsure that my sonorite (tone) is mostly the result oflistening as a child to my father.”) However, his deci-sion to become a flutist was not made until he wasin his twenties. Planning to become a physician, hewas in his third year at medical school when he wascalled up for labor service under the German occupa-tion. Learning that his unit was to be sent to Ger-many, he went AWOL to Paris, where he was per-suaded by one of the professors at the National Con-servatoire to attend classes. When he left the Con-servatoire, five months later, he did so with the firstprize for flute playing.In 1946, Rampal signed for his first concert tour,and the same year marked the beginning of his closeassociation with Robert Veyron-Lacroix. Mr. Rampalhas since performed as soloist and chamber mu-sician throughout Europe, including all major fes-tivals, and toured throughout America and the restof the world.When not on tour, Rampal may be heard over theFrench radio more often than any other instru-mentalist—except perhaps Robert Veyron-Lacroix.He lives in Paris, appropriately enough on theAvenue Mozart, next to a bakery called “A la FluteEnchantee” (At the Magic Flute). One of the twogolden flutes he uses comes from the famous Ameri-can flute maker, William S. Haynes of Boston.Always striving to enlarge his repertoire, Jean-Pierre Rampal has unearthed and revived many for-gotten works. His extensive and unusual programsfor duo, larger chamber groups and orchestra rangefrom Bach, father and sons, and the Baroque, all theway to the moderns—Roussel, Prokofiev, Hindemith,Khachaturian and MartinCi.He is one of the most recorded instrumentalists ofthe age—with orchestra, chamber groups and withVeyron-Lacroix at the keyboard. Six of his recordshave been awarded the Grand Prix du Disque.Robert Veyron-Lacroix, son of a French industralist,was born in Paris and revealed unusual musicaltalent at an early age. He, too, studied at the Con-servatoire, where he became proficient on a numberof instruments. While still a student he set a recordby winning an unprecedented number of first prizesin piano, harmony, counterpoint, accompanimentand solfeggio.One of Europe’s outstanding harpsichordists, hehas performed all over the Continent, in recital, inchamber music ensembles and with orchestra. Heis a regular guest performer at most major festivals,from Granada to Edinburgh. Extensive tours havetaken him to Africa, Latin and North America and theFar East. Between concerts, he is active as professorof harpsichord at the Conservatoire National In-terieur de Musique in Paris, and at the InternationalAcademy in Nice. He, too, has done considerableresearch on old music, editing and reviving manycompositions. His repertoire, like that of Jean-PierreRampal, ranges from Bach to the moderns.Robert Veyron-Lacroix’ solo records of works forharpsichord have won several Grands Prix du Disque-in 1954, 1955, 1960, 1964 and 1965.BACH: THE COMPLETE FLUTE SONATASJean-Pierre Rampal, FluteRobert Veyron-Lacroix, HarpsichordJean Huchot, CelloSide 1SONATA IN B MINOR FOR FLUTEAND HARPSICHORD, BWV 1030I—Andante (733)II—Largo e dolce (4:35)III—Presto (6:03)SONATA IN E-FLAT MAJOR FOR FLUTEAND HARPSICHORD, BWV 1031I—Allegro moderate (3:37)II—Siciliano (2:29)III—Allegro (4:io)Side 2SONATA INA MAJOR FOR FLUTEAND HARPSICHORD, BWV 1032I—Vivace (3:i8)II—Largo e dolce (8:06)III—AllegroSONATA IN G MINOR FOR FLUTEAND HARPSICHORD, BWV 1020I—Allegro (3:37)II—Adagio (3:i4)III—Allegro (4:32)Side 3SONATA IN E MINOR FOR FLUTEAND CONTINUO, BWV 1034I—Adagio ma non tanto (3:i9)II—Allegro(2:47)III—Andante(3:54)IV—Allegro (3:14)SONATA IN C MAJOR FOR FLUTEAND CONTINUO, BWV 1033I—Andante—Presto (3:45)II—AllegroIII—AdagiO(i:52)IV—Menuet I—Menuet 11(2:27)Side 4SONATA IN E MAJOR FOR FLUTEAND CONTINUO, BWV 1035I—Adagio ma non tanto (2:42)II—Allegro (2:03)III—Siciliano(3:40)IV—Allegro assai(2;i5)SONATA IN A MINOR FOR FLUTEUNACCOMPANIED, BWV 1013I—Allemande(3:i5)II—Corrente(2:2O)III—Sarabande(4:i9)IV—Bourree anglaise LP436

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