Luogo e data di registrazione		Bennebroek (Holland) - Aprile/Maggio 1969
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | SAWT 9545-A | 1 LP - durata 48' 30" | (p) 1969 | ANA
	Edizione CD		Teldec Classics | LC 6019 | 4509-97475-2 | 12 CDs  | (c) 1995 | ADD - Teldec Classics "Frans Brüggen Edition" - Vol. 12 | 4509-97474-2 | 1 CD - durata 68' 46" | (c) 1995 | (Loeillet) - Teldec Classics "Frans Brüggen Edition" - Vol. 4 | 4509-97466-2 | 1 CD - durata 58' 32" | (c) 1995 | (van Eyck) - Teldec Classics "Frans Brüggen Edition" - Vol. 3 | 4509-97465-2 | 1 CD - durata 64' 20" | (c) 1995 | (Pepusch) - Teldec Classics "Frans Brüggen Edition" - Vol. 1 | 4509-97688-2 | 1 CD - durata 74' 44" | (c) 1995 | (Telemann) - Teldec Classics "Frans Brüggen Edition" - Vol. 7 | 4509-97469-2 | 1 CD - durata 44' 46" | (c) 1995 | (Couperin)
	Cover		Job Andriaenz Berckheyde (1630-1693 Harlem) "Selbsportrait im Atelier".
	Note		Non esiste, tale e quale, una ripubblicazione in Compact Disc di questa registrazione. I singoli brani sono però disseminati in diversi volumi che compongono la "Frans Brüggen Edition" che è composta da 12 Compact Disc..

The greatest flowering of the baroque recorder took place during the late baroque period between 1685 and 1750. In Italy, Germany and England there arose at this time a superabundance of solo literature; France alone did not seem to grant this instrument the same esteem. The whole recorder family, from the treble to the bass, already enjoyed great popularity in the early baroque era, though up to about 1650 it was, as a rule, used in chorus together with other instruments. The wide scale of its almost cylindrical bore, its narrow lip and high ‘cut-up’ produced a very warm, full sound rather lacking in overtones. At the end of the 17th century the instrument makers quickly adapted themselves to the recorder’s new solo function: the instrument acquired a considerably wider compass, and its tone became more powerful, brighter and richer in overtones. Although a narrower and more conical bore were now introduced everywhere, recorders varied considerably in the character of their sound, as is clearly demonstrated in the present recording, where Frans Briiggen plays the various pieces on historic instruments of the Dutch, Belgian, English and German types. Jean Baptiste Loeillet (1680-1730) belonged to a widely ramified family of musicians that had settled in the Flemish region around Ghent towards 1700. From 1705 on he worked in London as an oboist at the Queen’s Theatre. He later taught private pupils on various instruments and organized chamber concerts of his own. His Sonata in G major was printed in Amsterdam in 1705, together with eleven others. In its type it still corresponds to the ‘sonata di chiesa’ with the sequence of movements slow-quickslow-quick, though the inclusion of a gavotte as the last movement already shows the increasing influence of dance-like suite elements. The two slow movements are very ‘cantabile’ in character, the melody unfolding itself in finely spanned curves over a continuo bass rich in harmonic variety. The two quick pieces are conceived in terms of fresh music-making, richness of thematic ideas and, at times, real virtuosity. The impudent, capricious Gavotte forms a gay conclusion to this sonata written for amateur musicians. The recorder solos of Jan Jacob van Eyck (ca. 1590-1657) belong to the early baroque period. Hardly known apart from these, he was a blind musician who used to entertain visitors to the church in the churchyard with his - apparently virtuoso - recorder playing. His “Batali” - from the “Fluyten Lusthof” - are a sequence of “martial” signals and songs bearing the title of the present-day Dutch national anthem: “Wilhelmus van Nassaue”. The low tenor recorder used for their performance gives an amazing imitation of genuine trumpet signals and melodies. The 17th century coined the description “field or battle music” for such pieces, which enjoyed widespread popularity. The Variations of “Doen Daphne d’over schoone maeght” are little masterpieces of the art of variation. They increase in virtuosity up to a final climax with runs and trills, though dispensing entirely with the mechanical rhythmic formulae lacking in ideas that were used to the point of boredom in the late baroque period. From the likewise rarely mentioned Robert Carr, a lesser English master of the 17th century, we have the “Divisions upon an Italian Ground” (1686). This very brief, charming piece is built on a constantly repeated bass figure over which the recorder part moves with little variations and an expressive melodic line. The Twelve Fantasies for Solo Flute (1732/33) by Georg Philipp Telemann (1681-1767) find their counterparts in the collections of unaccompanied fantasias for violin, bass viola da gamba and keyboard published between 1732 and 1735, as indeed many similar works have come down to us from these decades by J.S. Bach and his contemporaries. Telemann gives his fantasies a loosely constructed formal framework, as if improvised with an easy hand. In the F major work he lets the French overture, with its pompous, sharply dotted rhythms, be heard at the beginning and the end of the first movement, “alla francese”. Its quicker, contrasted middle section is also to be found here. There then follows a Presto full of leaps. In the Fantasie in D minor the opening movement is divided into four sections. Two miniature Largos, only a few bars in length, with sustained notes in the highest register, alternate with two little virtuoso Vivaces. Here again a rippling piece of passage work concludes the richly inventive composition. From the 16th century down to the present day (e.g. Olivier Messiaen) composers have continually been inspired by birdsong. That the nightingale, as the bird of lovers, has frequently given rise to particularly poetic pieces is illustrated by “Le Rossignol en amour” (1722) by François Couperin (1668-1733). This amiable characteristic piece has an enchanting beauty of sound. Its melody unfolds itself capriciously and with rich embellishment, finally reaching a climax with the imitation of the song of the nightingale. A firmer and less playful impression is conveyed by the Sonata in F major by Johann Christian Pepusch (1667-1752), a native of Berlin who made his home in England and earned a place in musical history above all through his “Beggar’s Opera”. His many trio and solo sonatas for flute, oboe and violin still enjoy great popularity in amateur musical circles. The little F major Sonata follows the well-tried pattern of the church sonata. The slow movements are conceived with full tone, at times even in archaic style. In contrast to them, the second movement is an Allegro with lively thematic leaps, and the finale an Italianate Gigue rich in sequences and impetuous in its motion. Lothar Hoffmann Erbrecht