Copyright © 2018 Quill Classics
Brooklyn Baroque

QC 1007
Joseph Bodin de Boismortier (1689–1755)
Sonata in G Major for Recorder, Flute,
and Continuo
1. Preludio: Grave  2:07
2. Allemanda: Allegro  2:18
3. Affettuoso  3:13
4. Giga: Allegro  1:58

Michel Corrette (1707–1795)
Sonata in E Minor for Harpsichord and Flute, Op. 25, No. 4 (“Les
Amusemens d’Apollon chez Le Roi Admète”)
5. Allegro  5:03
6. Affettuoso  2:54
7. Presto  4:30

Élisabeth Claude Jacquet de
La Guerre (1665–1729)
Sonata in G Major for Flute and Continuo
8. [Adagio]—Presto—Adagio  1:16
9. Presto—[Adagio]  2:10
10. Presto—Adagio  3:17
11. Aria  2:27

Jean-Baptiste Barrière (1707–1747)
Sonata in E Minor for Cello and Continuo,
Book 1, No. 3
12. Adagio  1:31
13. Allegro  1:38
14. Adagio  2:50
15. Aria gratioso—Altro  5:00

François Couperin (1668–1733)
Quatorzième Concert for Flute and Continuo, from Les Goûts-réünis
16. Gravement  1:50
17. Allemande: Vivement  2:22
18. Sarabande: Grave  3:42
19. Fuguète  2:14

Jacques Hotteterre (1673–1763)
Sonata in B Minor for Recorder, Flute,
and Continuo, Op. 3, No. 3
20. Prélude: Gravement  2:03
21. Fugue: Gay  1:05
22. Grave: Gracieusement  1:50
23. Vivement, et croches égales  1:52


Andrew Bolotowsky,
flute; David Bakamjian, cello;
Rebecca Pechefsky,
With Gregory Bynum, recorder; Christine Gummere, cello
“When I reviewed their debut disc, Northern Lights, (Nov/Dec 2005) I called it
a must-buy, and this is the same. You simply must hear these musicians.
Again, everything is commendable, including the thoughtful, well-crafted
program notes by harpsichordist Rebecca Pechefsky. Two guests—Gregory
Bynum, recorder, and Christine Gunmere, baroque cello—join them on this
recital, and the latter shines in the Barriere, playing double-stops and
aggressive passagework with ease and abundant energy. Sometimes this
music is packaged in a dowdy, stuffy way, but that is simply not the case here.
You can hear the passion, intensity, and joy, but the class and sublime
attention to detail never escapes. I admit my bias; I would typically not go out
of my way to sit and listen to this music, but these fantastic artists have some
strange power--their performance is so compelling and lively that it seems to
reach right out of the speakers and grab my attention and does not let go.”
—Christopher L. Chaffee,
American Record Guide

“The Sonata in G Major by Elisabeth-Claude Jaquet de la Guerre (1665–
1729) is a captivating amalgam of not only French elegance and Italian
melody, but also moments of real drama. Bolotowsky, whose playing on all of
the tracks is sensitive yet pointed, breathes special intensity and excitement
into the piece. And we get not only lush playing but also fireworks from
Bakamjian in the Sonata in E Major for cello and continuo by Jean-Baptiste
Barriere (1707–1747), himself a cellist. This sonata, from a 1733 collection, is
a real masterpiece of virtuosity and compositional inventiveness, probably
unknown for the cello at the time. Pechefsky’s playing is typically fluid, and the
interplay between her and Bolotowsky is very sensitive. Gregory Bynum
(recorder) and Christine Gunmere (Baroque cello) have provided additional
skillful support.”
—Stephen Dydo,
Early Music America
Brooklyn Baroque follows up Northern Lights, its collection of Germanic
Baroque works, with a Gallic companion of some of the choicest composers
of France.
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