Bach,J.S. / Hazelzet / Ogg - Bach: Works for Flute - COMPACT DISCS [CD]

A former winner in the national InchFlute TalkInch Magazine Competition, the UArts Concerto Competition, the New York Flute Club Competition and the Mid-South Young Artist Flute Competition, Dr. Snizek performed with the ESO (National Orchestra of Taiwan) and was an active freelance orchestral and chamber musician in the Philadelphia region before receiving her DMA at UBC (Vancouver) in 2011. Her teachers include Maralyn Prestia-Schaub, Carol Wincenc, Peter Lloyd, Julius Baker, David Cramer and Lorna McGhee. Currently an Associate Professor at the University of Victoria, Dr. Snizek joined the UVic faculty as a visiting assistant professor in 2011. InchChamber Music (Re)Discoveries,Inch garnered Dr. Snizek the 2017 REACH award for InchExcellence in Creative ExpressionInch from the University of Victoria. Whole Note Magazine writes InchSnizek's artistry both as a soloist and as a collaborator is evident throughout, but nowhere more so than in her InchdialoguesInch with tenor Benjamin Butterfield in Eben's Drei Stille Lieder. She has spent a decade researching this lost, forgotten and neglected generation of composers. Her research, coupled with the artistry of all the performers on this CD, makes it an important addition to our knowledge and the repertoire of the mid- 20th century...Inch

In the 18th century, each composer of distinction and name composed works for the transverse flute Antonio Vivaldi, Georg Philipp Telemann, Georg Frideric Handel and also Johann Sebastian Bach, who had the opportunity to meet Quantz on several occasions. As is so often the case, his flute compositions are deemed to be the culmination of their times, not only because of their contrapuntal content, but also because of the tremendous technical difficulties confronting the flute player. In some cases, Bach pushes the boundaries of the flautistic possibilities of the time to their utmost limits, making full use of the tonal range of the instrument and even leading the transverse flute into it's remotest key ranges. In addition to solo works (the Partita BWV 1013 and a set of flute sonatas), on this Jan de Winne presents concertos in which the transverse flute plays a crucial role the Orchestral Suite No. 2 BWV 1067 (a InchmustInch in the repertoire of any flutist), the Brandenburg Concerto No. 5 BWV 1050, and the Triple Concerto BWV 1044.

Carl Philipp Emanuel Bach was born in Weimar in 1714 where he grew up under the severe leadership of his father Johann Sebastian receiving a complete musical forming. In 1738 when he was 24 he introduced himself to the Prussian court arousing the admiration of the Crown Prince. In 1740 Federico II succeeded the throne and the new King wanted Carl Philipp Emanuel at his service. For the following 28 years he accompanied the king, who was a flautist, every evening on the harpsichord. According to the musical historian Charles Burney, Carl Philipp Emanuel was not sufficiently appreciated by the King that in terms of composition seemed to prefer Quantz and Graun. Even Carl Philipp composed for the Prussian King a certain number of solo sonatas, trio sonatas and concerts that increased his already vast repertoire whose manuscripts are nowadays preserved in the Berlin State Library. Many of these compositions are known in their InchmodernInch version- i.e. performed with a metal flute and with the piano instead of harpsichord - and it in is this version that Francesca Pagnini and Annibale Rebaudengo present these works to the audience, giving particular attention to the expressive and interpretative values the extremely modern Carl Philipp Emanuel Bach's musical writing puts in continued evidence.