The sons of J.S. Bach

Jovanka Marville, clavichord
and Serge Saitta, baroque flute

Although the clavichord has a very soft, even intimate sound, C.P.E. Bach thought of it as an accompaniment instrument, along with the harpsichord and fortepiano. He felt that « a good clavichord, despite its somewhat soft sound, has the same beauties as the fortepiano, with the advantage of being able to sustain the sound, as the player can make the sound swell after the attack, and to make a vibrato. (Versuch ├╝ber die wahre Art das Clavier zu spielen, 1753).

 

The sound of the baroque flute is often covered by the harpsichord and other accompaniment instruments. With the clavichord there is no chance of this happening, and the flutist is free to express himself in the softest nuances.

 

This program combines the refined sound of the baroque flute with the subtle nuances of the clavichord.

 

Carl Philipp Emanuel Bach

1714-1788

Sonata in D minor

Allegretto, Largo, Allegro

 

Johann Christian Bach

1735-1782

Sonata in A major

Allegretto, Pastorale

 

Wilhelm Friedemann Bach

1710-1784

Fugue in C minor and polonaises in C major and C minor for keyboard

 

Johann Christoph Friedrich Bach

1732-1795

Sonata in D major

Allegro con spirito, Andante, Rondo