Mary has authored the cover story for the latest issue of Flutist Quarterly (Fall 2012): “The Flutist of Sanssouci: Frederick ‘the Great’ as Performer and Composer.” Read about it here.
Tag Archives: Flute sonatas
REVIEW of Lecture-Recital on Frederick “the Great,” Las Vegas, National Flute Association
By JOHN BARCELLONA
NFA Chronicles (Oct. 2012)
…The culminating Baroque flute event was a fascinating lecture/recital entitled “The Flutist of Sanssouci: Frederick “the Great” as Composer, and Performer,” presented by Mary Oleskiewicz, associate professor at the University of Massachusetts and a leading authority on Quantz. Oleskiewicz, who recently received a grant to study and perform at Frederick’s Sanssouci Palace in Potsdam, Germany, is a well-researched scholar and delivers her information with great enthusiasm. Her lecture was enhanced by projected slides of Fredrick “the Great,” Quantz, and the palace. She brilliantly performed sonatas by Fredrick on a replica of a Quantz two-keyed traverso (E-flat and D-sharp keys) made by Jean-Francois Beaudin from Montreal, Canada.
Project Sanssouci (updated March 26, 2015)
This is the theme of an exciting, multi-year project I have undertaken to perform and lecture about music at the 18th-century court of Frederick “the Great,” and to create first editions and CD recordings of flute music in his circle.
2014 marked the 300th anniversary of the birth of Carl Philipp Emanuel Bach, and I offered a number of contributions, including performances, articles and lectures. As part of these activities, I appeared as a guest speaker at the Brussel’s Royal Conservatory Symposium on C.P.E. Bach in November, presenting on “C.P.E Bach and Quantz’s Solfeggi.”
The year 2012 marked the 300th anniversary of the king’s birth and occasioned a number of events and recordings in which I participated. So far, Project Sanssouci includes five CD releases (see the Discography). If you wish to play any of this music, look for my editions in the publications page, especially the first edition of four previously inaccessible sonatas by Frederick “the Great,” published by Breitkopf & Härtel. An edition of concertos is underway.
My work is receiving critical acclaim!
New and upcoming:
My feature article “Carl Philipp Emanuel Bach and the Flute” has appeared in the summer 2014 issue of Flutist Quarterly — celebrating the 300th anniversary of the composer’s birth. Part I of this article has already appeared in translation, in the journal of the Dutch Flute Society, Fluit, with part II to follow.
In April 2014 I was chosen to edit the next volume of Bach Perspectives (vol. 11), entitled J.S. Bach and his Sons for the American Bach Society.
Recently Released CD:
In July 2013 Naxos released my world premier CD recording of unknown flute concertos by Johann Joachim Quantz and Frederick “the Great”, performed with Miklos Spanyi and Concerto Armonico, including one lost concerto I recovered from Russia. This recording has received critical acclaim and features 18th-century cadenzas written down in one of the concertos. It explores the contrast between the dramatic, Dresden court orchestral-style scoring of Quantz’s concertos versus the intimate chamber music-style scoring typical of the evening soirees held by the flutist-king, Frederick ‘the Great.’
Past events and reviews:
On April 30th I performed with Newton Baroque in a concert featuring the music of Carl Philipp Emanuel Bach and his contemporaries. On May 2-3 I performed two concerts with Newton Baroque and presented a lecture on Emanuel Bach’s Flute Quartets at Kenyon College, during the Meeting of the American Bach Society. My paper was entitled “The Flute Quartets of Carl Philipp Emanuel Bach.” In it, I discussed the genre and performs issues surrounding the three quartets composed in 1788 for flute, viola and fortepiano, works commissioned by Sara Levy for musicians in her closest circle.
My lecture-recital about Frederick as flutist, “The Flutist of Sanssouci: Frederick ‘the Great’ as Performer and Composer,” performed at the invitation of the National Flute Association in Las Vegas, 2012, received an enthusiastic review. You can read it here! Also, look for my article with the same title, which was featured in the fall issue of Flutist Quarterly 18 (2012). A Dutch translation of the article followed in FLUIT, the journal of the Dutch Flute Society.
In September 2012, at the invitation of the Berlin State Archives and the Berlin State Library, I appeared as a guest speaker on the topic of King Frederick as a musician for the exhibition, Hommes de Lettres –Frederick: The King at His Writing Desk. The exhibition, in the Kulturforum in Berlin, ran from June to October 2012. On November 3 at 12:00pm at the meeting of the American Musicological Society in New Orleans, I presented another lecture-recital, this one focused on the art and meaning of the Adagio in 18th-century Berlin, entitled “Bringing His Audience to Tears: Frederick ‘the Great’ as Composer and Performer.”
Recent performances included a chamber recital with Newton Baroque of Carl Philipp Emanuel Bach’s Quartets for Piano, flute and viola (April 2013), and a solo recital with Andrus Madsen, harpsichord, featuring music of C.P.E. Bach, Franz Benda, and Johann Joachim Quantz in Boston (December 2012), hosted by Early Music Thursday at the First Church in Boston.
Look for my brand new first edition of sonatas for flute and continuo by King Frederick “the Great,” to be published in November 2012 by Breitkopf & Härtel, with a continuo realization by David Schulenberg. My CD recording of these and other works by the king, performed on period instruments, has been released on the Hungaroton label as Seven Sonatas by King Frederick “the Great,” recorded in the historic royal music room in the palace Sanssouci.
To download a flyer with more information, click here.
“Oleskiewicz’s engaging and informative introduction places the pieces in their chronological framework and evaluates the historical and musical features of each.”
By NANCY HADDEN(Early Music, 2010)
Excerpted from the full review entitled “Flute music from the Bach circle”
Carl Philipp Emanuel Bach, The Complete Works: series II, volume 1: Solo sonatas, ed. Mary Oleskiewicz (Los Altos, CA : Packard Humanities Institute , 2008), $20
…[Here] under review is one of the many volumes currently appearing in the series Carl Philipp Emanuel Bach: The Complete Works, an ambitious, brave and enlightened publishing project of the Packard Humanities Institute, in cooperation with the Bach-Archiv Leipzig, the Sächsische Akademie der Wissenschaften zu Leipzig, and Harvard University. Their goal is ‘to make available, in both printed and digital formats, a critical edition of the composer’s works’, to be completed by 2014, which is the 300th anniversary of Emanuel’s birth. Series II, the Chamber Music (general editor, Peter Wollny), encompasses the solo sonatas, trio sonatas, works for obbligato keyboard and one or two solo instruments, and miscellaneous chamber music.
Most of Emanuel’s chamber works were written for private music-making: the early ones were perhaps for the Collegium Musicum in Leipzig or other student music societies, whereas by 1740 he was almost wholly engaged in writing music for the Berlin court of Frederick the Great of Prussia, where he stayed for nearly 30 years. In 1768 he assumed a new position in Hamburg, where he continued to write important solo and chamber music, unfettered by the demands of the Prussian king.
Volume I of Series II is edited by authoritative scholar and Baroque flautist Mary Oleskiewicz. It comprises 16 solo sonatas, mostly belonging to the Frankfurt and early Berlin periods. By far the largest number of C. P. E. Bach’s solo sonatas were written for the flute, probably to supply the flute-playing Frederick the Great with repertory. One is for unaccompanied flute, and eleven more are with basso continuo. Further sonatas include one each for oboe and harp, two solos for viola da gamba, and a fragment of a lost violoncello sonata. Oleskiewicz’s engaging and informative introduction places the pieces in their chronological framework and evaluates the historical and musical features of each. Of particular interest is her discussion of the Sonata for Harp, Wq139, written in 1762, when there was little music written specifically for the instrument. The chromatic notes and complex ornaments point to the single-action pedal harp as the most plausible instrument. Oleskiewicz points out that modern editors and performers have treated the piece as an unaccompanied work, even though the original bass line is fully figured; she argues that Wq139 requires a second instrument to supply the basso continuo realization, leaving the harpist free to perform the melody and the bass line. The sound of harp accompanied by a harpsichord or fortepiano (could a cello or gamba also take part?) is an enticing combination to imagine, and one hopes that the availability of this excellent edition will inspire more harpists to perform this piece as it was intended.
Matters of performance practice are clearly and carefully considered in light of C. P. E. Bach’s own instructions from his two-part keyboard treatise, Versuch über die wahre Art das Clavier zu Spielen (1753 and 1762). The editor fully explains the articulation marks, ornaments and improvised cadenzas — prefaced by the amusing observation that Emanuel himself complained that most of the ornament symbols used by keyboardists are not generally understood by other musicians, even though these same ornaments are ‘ essential ’ to both instrumental and vocal music. Although the likely choice of continuo instrument is not specified by Emanuel in the sonata scores, in Part II of the Versuch he makes his preference clear: the ‘ most perfect accompaniment ’ to a solo sonata is a keyboard instrument with a cello. Oleskiewicz points out that it is puzzling that in four of the five solo sonatas for flute from before 1740, the bass line descends below C, the lowest note of the cello. After 1740, the bass line never goes below C. It is possible that Emanuel had a seven-string gamba in mind for accompanying these early flute pieces, or the keyboard alone. This is a likely hypothesis, since the gamba, with its transparent sound, makes a good partner for the flute. As for the choices of keyboard, they were numerous in Germany during the 18th century, including double-manual harpsichords and fortepianos; even clavichords are known to have accompanied flutes and violins in intimate chamber music settings.
The sources used for the edition are fully evaluated in the critical notes. No autographs survive for any of C. P. E. Bach’s solo sonatas; until recently, the most important collection of his solo sonatas was that made by Johann Jakob Heinrich Westphal (1756 – 1825), who purchased a number of works from Emanuel’s widow. A second complete set of Emanuel’s eleven flute sonatas, copied by Johann Heinrich Michel, came to light with the recovery of the Berlin Sing-Akademie archive in Kiev in 1999. Described by Emanuel’s daughter as ‘the best copyist available’ , Michel made more accurate and more carefully produced scores, which Oleskiewicz has utilized as principal sources. I am pleased that the editor has chosen a single source as the basis for all of her own musical texts, rather than the dubious practice of some editors who conflate several sources to produce a patchwork which cannot be fixed in time or place to any original edition.
The Packard Institute editions are amazing value, beautifully printed on heavy paper, richly bound and extraordinarily reasonably priced. Perhaps the most welcome and innovative feature of this collected works is its access to downloadable links from their website, www.cpebach.org, making available, at no charge, performing parts, table of ornaments, digital facsimiles and the Versuch . These editions of C. P. E. Bach truly represent an age of enlightenment!