The year 1736 was very important in the life of Bach: he was conferred the title of Royal-Polish and Electoral-Saxon Court Composer. In that same year he composed the only two autographed sonatas for flute and obbligato harpsichord. Both sonatas came to us as a step of an elaborative process which could also have consisted of a diverse instrumentation. Such a practice was of inspiration in choosing two sonatas, originally conceived for other instruments, to be inserted in a project dedicated to the equal dialogue between flute and harpsichord. We have no certainties regarding the dedicatee for the autograph sonatas. The relationship with Dresden maintained by Bach in those years, leads us to theorize that it might have been the flute virtuoso Pierre-Gabriel Buffardin, a close friend of the Bach family. The choice of the instrument for this recording is due to the eventful rediscovery in 2015 of the only known flute trademarked BUFFARDIN LES FILS. A copy of it can be heard here for the first time. This particular instrument throws new light on the works that Alessandrini and Pontecorvo have selected to record after many concerts and recording projects with Concerto Italiano.
Bach, J S: Flute Sonata No. 1 in B minor, BWV1030
Bach, J S: Flute Sonata No. 3 in A major, BWV1032
Bach, J S: Sonata for Violin & Harpsichord No. 6 in G major, BWV1019
Bach, J S: Trio Sonata No. 2 in C minor, BWV526