The program heard on this Coviello Classics release isn't one that would have appeared in Bach's own time, and it includes only a few complete compositions, all of them instrumental. It offers, however, a unique cross-section of Bach's work. The combination of tenor and transverse flute is a common one in Bach's cantatas, and his output in this vein reached a high point in the years 1724 and 1725. It may be, as tenor and annotator Daniel Johannsen suggests in his booklet notes (in German and English, including all of the ...
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The program heard on this Coviello Classics release isn't one that would have appeared in Bach's own time, and it includes only a few complete compositions, all of them instrumental. It offers, however, a unique cross-section of Bach's work. The combination of tenor and transverse flute is a common one in Bach's cantatas, and his output in this vein reached a high point in the years 1724 and 1725. It may be, as tenor and annotator Daniel Johannsen suggests in his booklet notes (in German and English, including all of the vocal texts and even the track list), that Bach had an unusually talented flutist at his disposal during this period, or perhaps it was just that Bach realized all the things that this combination would do at a time when his cantata production was necessarily high. Tenor and flute could work together in similar basic material to produce a little trio sonata-like movement with a cello-and-keyboard continuo (both organ and harpsichord are used here). They could both essay difficult...
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