One of the most beautiful sonatas in a wonderful, classical interpretation with crystal clear intonation. Congratulations to all three musicians especially Michala Petri.
Aside from the beautiful playing by all here- that's a gorgeous dress Michala is wearing ! ⭐⭐⭐⭐⭐ And the first Allegro is particularly sublime. I love watching the fluidity of her fingers. This whole performance just soared for me. Or I felt as though I was soaring and gliding listening to it. Thank you guys!
Although I am neither an avid lover of period instrument nor an up-and-down-the-line an admirer of J.S. Bach, I thoroughly enjoyed the piece and the three fantastic ensemble performers who perfectly and seemingly effortlessly rendered this very difficult sonata. I confess, that this particular sonata (BWV 1034) has been my favorite since my childhood, quite a few decades ago. Thank you so much for the performance and for the upload. This was PURE JOY!
Merci à la flûte qui permet à de modestes amateurs comme moi d'accéder à ce beau répertoire baroque.Ici évidemment c'est parfait et bien trop difficile pour moi mais félicitation à Michaela Pétri et sa flûte haut de gamme pour la justesse.
The original score for flute or traverso goes down to a D at its lowest. This makes sense given that the flute is a C instrument like the soprano or tenor recorder. There is a version of this sonata on TH-cam played on a Voiceflute in D which is played in its original E minor. However, Michala is playing this on a modern alto with an E foot - so this would not go down to a D. Given the limited range of the recorder you could not transpose up an octave either. So a change of key is necessary and the most obvious choice would be to transpose up by a fourth since this is the interval from a tenor recorder to an alto. While this takes us into the nice easy key of A minor, there is a problem from a recorder point of view. When transposed into A minor, you would have fast passages using high F# requiring the covering of the end hole (good news for your dentist but not your teeth!). Noted that the top F# is not a problem on a modern alto but it would be an odd choice to play it in a different key and transpose all of the music especially for this version of an alto recorder. Going up by a major third is even worse (5 sharps AARRGH!) - however, transposing up a minor third to G minor is much more playable. Hope that answers your question.
@@classicalmusiclover7903 Transposition up by a minor third from transverso to alto recorder is pretty standard. So it puts lowest note from d to f which makes sense and also changes the key signature up three flats, so to speak. Baroque flutes (transverso) tend to be happier in G or D major and recorders in F or B flat so all of this usually works out well.
Esfahani's unrythmical, parallel-filled, bass omitting, harmonically deprived, staccato-overload ramblings can hardly be described as "continuo playing", whilst Petri seems to consider intonation optional. The only person who seems to have a grasp of both technique and musical content seems to be Perl, and I feel sorry for her having to endure what must surely have been sheer torture! I can't blame her for wanting to sit as far away from Esfahani as possible. It doesn't look like there's any musical communication going on between the three of them anyway, so she might as well try and minimise the pain...
Sorry but this is just an angry bit of hate speech against one of the great harpsichordists of our time - the continuo-playing is amongst the finest there is. But people really just resent him for being better than they are - at least he’s brought early music out of amateur hour. It is so good to see that he and Petri have made you all irrelevant.
@@drzaeus5624 As harshly as the OP worded his critique, he does have a point. Mr. Esfahani constantly leaves out harmonies, or thins the texture (neither of which conforms to the information available about Bach's own continuo style). He keeps arpeggiating before the beat, which muddles up the rhythm, and severely violates the rules of counterpoint on several occasions. In the third movement, for example (at 5:40), he plays very obviously exposed parallel fifths. If this was hidden between the inner parts of a fully voiced continuo, i.e. 6 voices or more, it wouldn't be an issue. But here he plays only two parts. This is a mistake you wouldn't even expect from a first year music student. So, yeah. The OP is an arse - but that doesn't make him wrong.
1: Adagio man non tanto 0:00
2: Allegro 2:55
3: Andante 5:21
4: Allegro 8:45
I grew up with Brueggen being my hero. And now I've moved on to this lady.
Almost same here. ;)
One of the most beautiful sonatas in a wonderful, classical interpretation with crystal clear intonation. Congratulations to all three musicians especially Michala Petri.
I love the Baroque music with the small ensemble you have here. Thankyou Michala Hille, and Mahan. ❤
I love your música,Michala!!
Bach? I don't have nothing to say. Glad you came into the world and left us your music.
Aside from the beautiful playing by all here- that's a gorgeous dress Michala is wearing !
⭐⭐⭐⭐⭐
And the first Allegro is particularly sublime. I love watching the fluidity of her fingers. This whole performance just soared for me. Or I felt as though I was soaring and gliding listening to it. Thank you guys!
Absolutely brilliant. What a fine Sonata and the Continuo, really cooking. Bravo!!
Although I am neither an avid lover of period instrument nor an up-and-down-the-line an admirer of J.S. Bach, I thoroughly enjoyed the piece and the three fantastic ensemble performers who perfectly and seemingly effortlessly rendered this very difficult sonata. I confess, that this particular sonata (BWV 1034) has been my favorite since my childhood, quite a few decades ago. Thank you so much for the performance and for the upload. This was PURE JOY!
Beautiful singing on the flute, with great basso continuo players, love it!
Wow. This must be the most technically skilled, virtuosic performance of this piece I've come across. And with feeling, too! Bravo!!!
THIS IS ALL 100%
BEAUTIFUL ,
BEAUTIFUL MUSIC.
ALL OF US
LOVE ALL OF
YOU FOUR
BEAUTIFUL MUSICIANS.
---EMERITUS
PROFESSOR BJNG.
That is wonderful.
Magic!, Michala Petri, I love you.
I'm a bachian devotees.
I am really grateful for your exquisite performance.
All my deepest esteem and love.
Maybe the most beautiful sound of a recorder I heard yet.
Awesome!!!❤❤❤❤❤❤❤
You are still my hero!!!
What a lovely rendition! I really like this a lot.
They play so beautiful that makes me love Bach
Una marevella! Música en grau superlatiu! Gairebé increïble si no fos que ho podem escoltar. Gràcies, moltíssimes gràcies!!
Not surmountable perfection, even with a soul, here, a great, airy soul.
Extraordinario trío. Una versión magnífica.
Michala Petri tu déchires tout !!!
Magnifique. Magnifique.
I’m a long-standing fan of MP. So rare to hear this particular sonata played on the flauto... Wonderful! ❤️👏🎼🎵🇮🇪☘️
Rxquisite!!! Thank you very much!
Merci à la flûte qui permet à de modestes amateurs comme moi d'accéder à ce beau répertoire baroque.Ici évidemment c'est parfait et bien trop difficile pour moi mais félicitation à Michaela Pétri et sa flûte haut de gamme pour la justesse.
Das erste Allegro ist atemberaubend!
5:21 Andante
Amazing, it's one of God music ...
I love hille perl
out of this world!
Спасибо 🌹🌹🌹
Bravo 👏 👏👏👏👏👏👏
Absolutely perfect
Kalt; wie immer.
Gracias
one big ''like''
wouah!
Where was done this recording? It's clear that's in a church, because I noticed the benches and the organ facade.
Just wondering....why would it have been changed to G minor vs just playing the original in E minor?
The original score for flute or traverso goes down to a D at its lowest. This makes sense given that the flute is a C instrument like the soprano or tenor recorder.
There is a version of this sonata on TH-cam played on a Voiceflute in D which is played in its original E minor.
However, Michala is playing this on a modern alto with an E foot - so this would not go down to a D. Given the limited range of the recorder you could not transpose up an octave either.
So a change of key is necessary and the most obvious choice would be to transpose up by a fourth since this is the interval from a tenor recorder to an alto. While this takes us into the nice easy key of A minor, there is a problem from a recorder point of view. When transposed into A minor, you would have fast passages using high F# requiring the covering of the end hole (good news for your dentist but not your teeth!). Noted that the top F# is not a problem on a modern alto but it would be an odd choice to play it in a different key and transpose all of the music especially for this version of an alto recorder. Going up by a major third is even worse (5 sharps AARRGH!) - however, transposing up a minor third to G minor is much more playable.
Hope that answers your question.
@@classicalmusiclover7903 Transposition up by a minor third from transverso to alto recorder is pretty standard. So it puts lowest note from d to f which makes sense and also changes the key signature up three flats, so to speak. Baroque flutes (transverso) tend to be happier in G or D major and recorders in F or B flat so all of this usually works out well.
Yeah, a keyed recorder.
💖
2:55 David Russell
It was written E minor.
Taps!
Esfahani's unrythmical, parallel-filled, bass omitting, harmonically deprived, staccato-overload ramblings can hardly be described as "continuo playing", whilst Petri seems to consider intonation optional. The only person who seems to have a grasp of both technique and musical content seems to be Perl, and I feel sorry for her having to endure what must surely have been sheer torture! I can't blame her for wanting to sit as far away from Esfahani as possible. It doesn't look like there's any musical communication going on between the three of them anyway, so she might as well try and minimise the pain...
@@jesuisravi Chapeau, good sir! A highly qualified, detailed and well founded refutation to my statement!
@@johannmattheson2030 It was exactly suited to the tone of the "statement".
Sorry but this is just an angry bit of hate speech against one of the great harpsichordists of our time - the continuo-playing is amongst the finest there is. But people really just resent him for being better than they are - at least he’s brought early music out of amateur hour. It is so good to see that he and Petri have made you all irrelevant.
@@drzaeus5624 As harshly as the OP worded his critique, he does have a point. Mr. Esfahani constantly leaves out harmonies, or thins the texture (neither of which conforms to the information available about Bach's own continuo style). He keeps arpeggiating before the beat, which muddles up the rhythm, and severely violates the rules of counterpoint on several occasions. In the third movement, for example (at 5:40), he plays very obviously exposed parallel fifths. If this was hidden between the inner parts of a fully voiced continuo, i.e. 6 voices or more, it wouldn't be an issue. But here he plays only two parts. This is a mistake you wouldn't even expect from a first year music student. So, yeah. The OP is an arse - but that doesn't make him wrong.
Nice cover. Still better on the flute
Big mistake to compare instruments...