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Bach : Les Sonates concertantes pour flûte et piano. Sello, Canino.
Format : 1 CD
Durée totale : 00:54:25

Enregistrement : 04-05/11/2017
Lieu : Pordenone
Pays : Italie
Prise de son : Stereo

Label : Stradivarius
Référence : STR37095
EAN : 8011570370952
Code Prix : DM021A

Année d'édition : 2018
Date de sortie : 30/05/2018

Genre : Classique
Johann Sebastian Bach (1685-1750)
Sonate pour flûte et piano en la majeur, BWV 1032
Sonate pour flûte et piano en si mineur, BWV 1030
Sonate pour flûte et piano en mi bémol majeur, BWV 1031
Sonate pour flûte et piano en sol mineur, BWV 1020

Luisa Sello, flûte
Bruno Canino, piano

On this recording, the four Sonate Concertanti by Johann Sebastian Bach (the BWV 1020 probably from 1734, the BWV 1030 from 1718-1723, like the Sonata BWV 1032, revised twenty years later, and the Sonata BWV 1031 of uncertain date), definitely get a spirit derived from the 1717-23 period that the future Kantor spent at the court of Anhalt-Cöthen, in the position of Kapellmeister for Prince Leopold: in this time he developed his knowledge and experience in the field of secular instrumental music. As the more attentive listener will discover, the performance, by Luisa Sello (flute) and Bruno Canino (piano), enhances the polyphonic dialogue: however, it would be more right to describe it as a structure, an architecture between the two instruments because of the depth and complexity we can find on it. It is a dialogue that springs from eloquence and a feeling that can, at least in this chamber repertoire, keep off the listener and Bach’s lover for a musician conception just able to compose in the name of Soli Deo Gloria, with which he signed all his musical manuscripts. Apart from a certain legacy and a tradition that see in the genius of Eisenach the promoter of a rigorous “sound theology”, with these four sonatas Luisa Sello and Bruno Canino mean showing another aspect on an interpretative level, based on a reading that in its philological rigorousness does not neglect that idea of manifesting and celebrating the “brightness”, the earthly illumination expressed not only by the musician, but also and above all by the man Bach, by his desire to evoke, apart from the metaphysical view, also a “physicalness”, a “sensuality” which are present in his aesthetic vision. This is because the two interpreters, in choosing to perform these works on modern instruments, are able in establishing an execution rhythm that does not reject those colours, shades and accents demonstrating that show how much care the Kantor gave to the Affektenlehre, the theory of affections.

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