“Pahud’s playing is always crisp and stylish, whether in virtuoso display or in more tender passages where the flute traces a line of filigree delicacy.”The Daily Telegraph
One of the more puzzling remarks about the music of Carl Philipp Emanuel Bach came from Mozart, who said that anyone who listened closely would realize his debt to the German composer. That seemed unlikely, given that Mozart only rarely availed himself of the Sturm und Drang ("storm and stress") style of C.P.E.'s keyboard music. But listen to this release by flutist Emmanuel Pahud and you'll get an idea of what Mozart was talking about. It's not just that the flute concertos are basically galant in style, not Sturm und Drang. It's a certain nervous energy that makes the flute bloom rapidly out of squarish themes and keeps you guessing as to what's coming next.
This unusual release, recorded in 1975, attempts to shed light on the numerous problems concerning the nature and indeed authorship of the flute sonatas by, or not by, Bach. The artistry of these musicians is, as we might expect, compelling, but in their attempt to segregate authentic Bach from what are often supposed to be spurious flute sonatas they have, in common parlance, 'come a cropper'. (CRD CRDIOI4-15, 8/75). N.A..
Fans of Angela Hewitt will be delighted to find her in chamber mode, accompanying Andrea Oliva (described as ‘one of the best flutists of his generation, a shining star in the world of the flute’ by Sir James Galway) in a programme of J S Bach’s flute sonatas (including one by his most famous and talented son, CPE). Of unfailingly remarkable quality, all these works exploit the full potential of an instrument which was only just coming into its own when they were written. Oliva’s lyricism and agility coupled with Hewitt’s musicianship—not to mention her lifelong rapport with Bach’s music—make this an album to treasure.