Precise indications of the instruments on which they were for to be played were given for all these pieces. Composers in Baroque times often indicated combinations of instruments to vary at the discretion of performers, often for reasons of logistics, publicity or, last but not least, commerce.
Research reveals a vast body of work which “technically” can be played by the above formation, as well as by others. Many pieces are written to be played by a variety of different formations and it is not immediately clear which one is intended, or if and when the composer had a precise idea of sound and timbre, apart from the usual combinations found in practice and on the market.
su strumenti originaliGeorg Philipp Telemann
Quartetto in re minore a due flauti traversi, flauto diritto e basso continuo – Tafelmusik II – 1733, ms. DarmstadtAnonimo
Trio sonata a flauto, traversa e basso, ms. GhentJohann Joachim Quantz
Trio a flauto dolce, flauto traversiero, basso, ms. Dresden
Joseph Bodin de Boismortier
Joh. Christoph Schultze (P. Prowo)
Johann Friedrich Fasch
|flauto diritto – recorder
flauto traverso – transverse flute
viola da gamba – bass viol
clavicembalo – harpsichord
flauto diritto I in Fasch – recorder I in Fasch
flauto traverso I in Telemann – transverse flute I in Telemann
|Registrato a San Salvatore a Leccio – Castello – Firenze, nel mese di Luglio 2003 da Nicolò Vivarelli e Giuseppe Scali
Sound Design e Masterizzazione effettuati da Nicolò Vivarelli e Giuseppe Scali per: EMA Vinci – Produzioni Musicali www.emavinci.it
Si ringraziano Luigi Perozzi e Adriana Tramontano per la gentilissima ospitalità a San Salvatore a Leccio – Castello.