C. P. E. Bach: Sonatas for Flute and Fortepiano François Lazarevitch & Justin Taylor

• Carl Philipp Emanuel Bach (1714 - 1788): Trio Sonata in D Minor, Wq.145:
• 1Bach: Trio Sonata in D Minor, Wq.145: I. Allegretto05:13
• 2Bach: Trio Sonata in D Minor, Wq.145: II. Largo03:41
• 3Bach: Trio Sonata in D Minor, Wq.145: III. Allegro06:32
• Trio Sonata in D Major, Wq. 83:
• 4Bach: Trio Sonata in D Major, Wq. 83: I. Allegro un poco04:19
• 5Bach: Trio Sonata in D Major, Wq. 83: II. Largo05:57
• 6Bach: Trio Sonata in D Major, Wq. 83: III. Allegro05:47
• Flute Sonata in A Minor, Wq. 132:
• 7Bach: Flute Sonata in A Minor, Wq. 132: I. Poco adagio04:23
• 8Bach: Flute Sonata in A Minor, Wq. 132: II. Allegro05:26
• 9Bach: Flute Sonata in A Minor, Wq. 132: III. Allegro04:47
• Trio Sonata in C Major, Wq. 149:
• 10Bach: Trio Sonata in C Major, Wq. 149: I. Allegro di molto03:00
• 11Bach: Trio Sonata in C Major, Wq. 149: II. Andante04:58
• 12Bach: Trio Sonata in C Major, Wq. 149: III. Allegretto05:46
• Fantasia in F-Sharp Minor, Wq. 67:
• 13Bach: Fantasia in F-Sharp Minor, Wq. 67: I. Adagio - Allegretto02:27
• 14Bach: Fantasia in F-Sharp Minor, Wq. 67: II. Largo - Adagio - Largo04:07
• 15Bach: Fantasia in F-Sharp Minor, Wq. 67: III. Adagio - Allegretto - Adagio - Allegretto - Largo03:49
• Trio Sonata in B Minor, Wq. 143:
• 16Bach: Trio Sonata in B Minor, Wq. 143: I. Allegro03:30
• 17Bach: Trio Sonata in B Minor, Wq. 143: II. Adagio03:45
• 18Bach: Trio Sonata in B Minor, Wq. 143: III. Presto02:16
• Total Runtime01:19:43

Info for C. P. E. Bach: Sonatas for Flute and Fortepiano

With these sonatas by C. P. E. Bach, François Lazarevitch continues the exploration of the jewels of the flute and recorder repertory he has embarked on with Les Musiciens de Saint-Julien or as a soloist with recordings of music by Bach, Telemann, Vivaldi and van Eyck. François Lazarevitch and Justin Taylor now bring their sensitivity and virtuosity to bear on the sonatas for flute and obbligato harpsichord of Carl Philipp Emmanuel Bach. The majority of these works date from the years 1745-66, when he was in the service of the flute-playing King Frederick II. Two solos complete the programme: the famous Sonata in A minor for unaccompanied flute and the Fantasia in F# minor for keyboard, which testifies to Emanuel’s improvisational artistry. Situated at the epicentre of the Enlightenment era, Bach’s second son was the key figure of Empfindsamkeit (Sensibility), the movement that explored the deep and unfathomable stirrings of humanity and nature, countering the learned style of the early eighteenth-century masters with freedom of inspiration and hence emancipation of form. The artist now sought above all to express the impulses of the soul, displaying unexpected traits that sometimes verge on the bizarre.

François Lazarevitch, flute
Justin Taylor, pianoforte

François Lazarevitch
Although his primary instrument is the flute, from the outset, François Lazarevitch has concentrated his apprenticeships, research and musical practices on the diversity of sources, oral and written, which he deems necessary for recreating the early and Baroque repertoires today. Backed, since 2006, by the companionship of his Musiciens de Saint-Julien, to whom he passes on his craving for going ever further in comprehension, his taste for the discovery of forgotten repertoires and experimental curiosity about all cultures, he takes a singular new look at a whole chapter of our musical history.

The driving force? Rhythm, this impulse born of dance and which calls more on what is felt than on what is written on paper and which must imbue all music with flexibility and in awareness. This is why his recording of Bach’s Flute Sonatas (Alpha Classics, 2014, ‘Choc’ Classica) surprises and charms with the eloquence, invention and refinement of his art of phrasing and ornamentation.

It must be said that while François Lazarevitch tackles early music and the flute with pioneers such as Antoine Geoffroy-Dechaume, Barthold Kuijken and Pierre Séchet, he also approaches Indian music, has a passion for the Irish flute, and practices music of oral tradition with those who still perpetuate it locally. These fruitful encounters and explorations open up his own path, uncharted and demanding, which he travels, adding strings to his bow: today, he divides his time between the flute and the musette with equal virtuosity, the pastoral timbre having become emblematic of Les Musiciens de Saint-Julien.

Artistic director of the ensemble, he conducts it on the French and international music scenes, recording innovative programmes for Alpha Classics, which are regularly acclaimed. He also enriches his experience through collaborations with Les Arts Florissants, Le Concert d’Astrée, Les Talens Lyriques, dancers and choreographers, stage directors and composers of today. An impassioned instrument collector and researcher, he publishes scores of unearthed repertoires.

Finally, he teaches Baroque flute and musette at the Versailles Conservatory, eager to pass on what drives him: ‘the freedom of breath in the service of listening, understanding and energy’.

Booklet for C. P. E. Bach: Sonatas for Flute and Fortepiano