Composed by Simon Balicourt. Edited by Michael Talbot. Flute & Basso Continuo. Baroque. Full score and parts. Duration c.20:00. Edition HH Music Publishers #HH446-FSP. Published by Edition HH Music Publishers (HH.HH446-FSP).
ISBN 9790708146537. 8.27 x 11.69 inches.
The Andante opening Sonata 3, in D minor, demonstrates Balicourt’s mastery of a an entirely natural lyricism that is elegant without ever becoming bland. The vivacious Allegro that follows has an endearing playfulness reminiscent of Vivaldi. The third movement, Andante, moves to F major and is noteworthy for some delightful imitative play between flute and bass. A sprightly Minuetto brings up the rear. Sonata 4, in A minor, opens with a Largo of an almost Handelian gravitas. It is followed by a fleet-footed Allegro that at several points contains figurations derived from violinistic style as exemplified by Vivaldi. For the concluding movement, a graceful Affettuoso, Balicourt switches to A major, a way of lightening the mood that in 1750 was not yet common but very soon was to become a favoured practice in minor-key works.
Composed by Simon Balicourt. Edited by Michael Talbot. Flute & Basso Continuo. Baroque. Full score and parts. Duration c.20:00. Edition HH Music Publishers #HH446-FSP. Published by Edition HH Music Publishers (HH.HH446-FSP).
ISBN 9790708146537. 8.27 x 11.69 inches.
The Andante opening Sonata 3, in D minor, demonstrates Balicourt’s mastery of a an entirely natural lyricism that is elegant without ever becoming bland. The vivacious Allegro that follows has an endearing playfulness reminiscent of Vivaldi. The third movement, Andante, moves to F major and is noteworthy for some delightful imitative play between flute and bass. A sprightly Minuetto brings up the rear. Sonata 4, in A minor, opens with a Largo of an almost Handelian gravitas. It is followed by a fleet-footed Allegro that at several points contains figurations derived from violinistic style as exemplified by Vivaldi. For the concluding movement, a graceful Affettuoso, Balicourt switches to A major, a way of lightening the mood that in 1750 was not yet common but very soon was to become a favoured practice in minor-key works.
Preview: Sonata in D minor and A minor
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