The Instrument Of Kings--18th Century music for Flute & Keyboard

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Album Name Length Format Sample Rate Price
The Instrument Of Kings--18th Century music for Flute & Keyboard 1:12:04 $11.98
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# Track Title Length Format Sample Rate Price
1 Handel - Sonata in D Major for Flute and Continuo 1:44 $1.49 Buy
2 Handel - Sonata in D Major for Flute and Continuo 2:23 $1.49 Buy
3 Handel - Sonata in D Major for Flute and Continuo 0:59 $1.49 Buy
4 Handel - Sonata in D Major for Flute and Continuo 2:09 $1.49 Buy
5 Scarlatti - Sonata in E Minor for Flute and Continuo 1:44 $1.49 Buy
6 Scarlatti - Sonata in E Minor for Flute and Continuo 4:09 $1.49 Buy
7 Scarlatti - Sonata in E Minor for Flute and Continuo 1:33 $1.49 Buy
8 Scarlatti - Sonata in E Minor for Flute and Continuo 1:52 $1.49 Buy
9 Vinci - Sonata in D Major for Flute and Continuo 1:29 $1.49 Buy
10 Vinci - Sonata in D Major for Flute and Continuo 2:14 $1.49 Buy
11 Vinci - Sonata in D Major for Flute and Continuo 1:31 $1.49 Buy
12 Vinci - Sonata in D Major for Flute and Continuo 1:35 $1.49 Buy
13 Vinci - Sonata in D Major for Flute and Continuo 1:30 $1.49 Buy
14 Telemann - Solo in B Minor for Flute and Continuo 3:12 $1.49 Buy
15 Telemann - Solo in B Minor for Flute and Continuo 2:37 $1.49 Buy
16 Telemann - Solo in B Minor for Flute and Continuo 2:36 $1.49 Buy
17 Telemann - Solo in B Minor for Flute and Continuo 3:05 $1.49 Buy
18 Intermission 0:14 $1.49 Buy
19 CPE Bach - Sonata in G Major for Flute and Fortepiano 5:11 $1.49 Buy
20 CPE Bach - Sonata in G Major for Flute and Fortepiano 4:04 $1.49 Buy
21 CPE Bach - Sonata in G Major for Flute and Fortepiano 3:15 $1.49 Buy
22 JC Bach - Sonata in D Major for Flute and Fortepiano 4:47 $1.49 Buy
23 JC Bach - Sonata in D Major for Flute and Fortepiano 4:12 $1.49 Buy
24 Mozart - Sonata in G Major for Flute and Fortepiano 8:38 44.1/16 Album only
25 Mozart - Sonata in G Major for Flute and Fortepiano 5:21 $1.49 Buy

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EP-2

While the mighty pipe organ is frequently called "the king of instruments" because of its exceptional size and presence, the transverse flute may aptly be called "the instrument of kings" - especially as far as the 18th century is concerned. Frederick the Great of Prussia is known to have been a serious and higly skilled performer on the flute, and his musical court was one of the most important in Europe. King George III of England played the flute in addition to the violin and harpsichord. Duke Carl Theodor, the Elector Palatine in Mannheim, was proficient on the flute and violoncello and, like Frederick the Great, was a notable patron of the arts. Prince Friedrich Ludwig of Wurttemberg was also a well-know flutist in his time. This program of flute sonatas from the 18th century includes four with figured-bass accompaniment from the first half of the century and three with fully composed keyboard parts from the second half. While the baroque works with figured bass - those composed by Handel, Domenico Scarlatti, Vinci, and Telemann - are appropriately played with a continuo of harpsichord and cello, our choice of fortepiano for the classical works - those by C.P.E. Bach, J.C. Bach, and Mozart - may seem somewhat more arbitrary. The Mozart and J.C. Bach sonatas specify a choice between harpsichord or fortepiano. The music's dynamic markings, indication loud, soft, crescendo, etc., suggest a preference for the piano. The C.P.E. Bach sonata, while specifying "cembalo" (harpsichord) on the source manuscript, appears as "clavier" (piano) in the entry in Bach's 1790 published estate listing (Nachlass). It is a known fact that there were fortepianos by the mid-18th centuryat the court of Frederick the Great where C.P.E. Bach was employed, so the fortepiano is an entirely reasonable choice for the C.P.E. Bach sonatat heard on this recording. In addition to our playing upon historical instruments (either replica or antique) and tuning to historical pitches and temperanments, original musical texts were also consulted wherever feasible. Throughout this program, Igor Kipnis and I improvise our own free embellishments, in accordance with 18th-century performance practices. - John Solum

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