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Nadia Labrie returns with a second album in the Flûte Passion series. This second opus is dedicated to four key works for flute by Johann Sebastian Bach, which she performs with Luc Beauséjour on piano and Camille Paquette-Roy on cello.

Sonata for flute in E minor, BWV 1034

The first two sonatas, with their four movements alternating in slow-fast-slow-fast succession, correspond to the model of the sonata da chiesa (intended for the church). The Sonata in E minor, BWV 1034, was written for transverse flute and continuo: the flute is accompanied by a group of instruments - in this case a piano and a cello - who improvise from the notation of a figured bass line. The highly lyrical first movement of this sonata, written around 1724, is characterized by a serious eloquence, contrasted with the joy of the fugalAllegro that follows. The third movement is a meditative Andante, in which long flute melodic lines hover above a tranquil eighth-note accompaniment. In the finale, flute and continuo respond to each other in an interplay of imitations that begins with the first theme and continues throughout the movement.

Trio Sonata in G major, BWV 1039, for two flutes and harpsichord

The Trio Sonata in G major, BWV 1039, for two flutes and harpsichord, was written some twelve years later. In the version presented here, one of the two flute parts is played on the piano, while the bass line is entrusted to the cello. The first movement opens in a serene atmosphere, colored by expressive delays heralding a second theme to which bold harmonies lend a more anguished character. TheAllegro ma non presto that follows is a fugal piece both noble and playful. In the third movement, in minor, numerous pedals create a haunting effect of suspended time, contrasting with the rhythmic energy of the final Presto.

Sonata for flute in B minor, BWV 1030

Completed around 1736, the B-minor Sonata BWV 1030 is often considered Bach's masterpiece for flute. Unlike the accompaniments of sonatas BWV 1034 and BWV 1039, this sonata is entirely written out, making the keyboard a true partner for the flute. This concertante writing is highlighted in the initialAndante, where a close contrapuntal dialogue develops between flute and piano. The Largo e dolce that follows is conceived more as a flute melody that the piano accompanies or comments on. The final movement is in two parts: a short fugue, marked Presto, followed by a virtuoso gigue.

The Partita for solo flute in A minor, BWV 1013

Bach's only work for solo flute, the Partita in A minor, BWV 1013, is a suite in four movements. The initialAllemande, with its predominance of arpeggio motives, resembles a prelude. The lively Corrente that follows features more scale motifs, interspersed in the first theme with broad eighth-note leaps. It ends with a perpetual movement. The third movement is a somber, introspective Sarabande, contrasted with the playful Bourrée anglaise that ends the work.

© Florence Brassard

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"Nadia belongs to the rare group of performers for whom every note counts in a phrase. She has a way of turning every single note to catch the light, nurturing it, bringing each to life no matter how long it lasts."

The Halifax Herald Limited

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