J.H. Roman: The 12 Flute Sonatas, Nos. 6-12 Dan Laurin & Paradiso Musicale

• 1 I. Larghetto 05:19
• 2 II. Allegro 02:25
• 3 III. Non troppo allegro 02:05
• 4 IV. Grave 01:44
• 5 V. Allegro 00:51
• 6 I. Largo 03:26
• 7 II. Larghetto 06:11
• 8 III. Lento 01:53
• 9 IV. Allegro assai 01:18
• 10 I. Largo 03:18
• 11 II. Allegro 02:09
• 12 III. Andante 02:18
• 13 IV. Adagio - Allegro 02:51
• 14 V. — 01:11
• 15 I. Cantabile 03:49
• 16 II. Vivace 04:21
• 17 III. Andante 02:37
• 18 IV. Allegro 02:20
• 19 V. Minuetto 01:23
• 20 I. Larghetto 02:50
• 21 II. Andante 02:16
• 22 III. Piva 02:49
• 23 IV. Non presto 02:17
• 24 V. Villanella 01:03
• 25 I. Largo 03:20
• 26 II. Allegro 02:54
• 27 III. Larghetto 01:37
• 28 IV. Allegro 01:14
• 29 I. Con spirito 01:28
• 30 II. Allegro 02:10
• 31 III. Con affetto 03:03
• 32 IV. Allegro 01:50
• Total Runtime 01:20:20

Info zu J.H. Roman: The 12 Flute Sonatas, Nos. 6-12

In Johan Helmich Roman's lifetime, the recorder was the most common wind instrument in Stockholm, used across the social spectrum including the Royal music establishment for which the composer was responsible. The transverse flute, on the other hand, was generally the preserve of the upper classes: the nobility and bourgeoisie. Possibly this higher status influenced Roman's choice of instrument for the set of XII Sonate a flauto traverso, violone e cembalo but that hasn't stopped the celebrated recorder player Dan Laurin from taking up his countryman's sonatas on his own instrument. In his liner notes, Laurin explains his fascination with Roman's music: 'complex emotional contexts are contrasted with folk music forms such as the villanella or piva the music is asymmetrical, irregular and full of unexpected twists, sudden pauses and cadences.' In it, he hears the influence of the Italian musicians that Roman met in London during his stay there from 1715-1721, and with his fellow musicians in Paradiso Musicale, Laurin opts for an Italianate slant in his performances: continuo settings ranging from harpsichord alone to the full complement including baroque guitar provide great variety in recordings characterized by striking harmonisations. With its ample playing time, the present disc completes Laurin's survey of the sonatas that began with BIS2105, with Sonatas 1-5, a disc which received acclaim in Gramophone: 'Dan Laurin brings all his customary verve and eloquence in pieces whose emotional content is as unpredictable as the sequence of movements'. Together with the companion discs of Roman's 12 keyboard sonatas recorded by Anna Paradiso, the set highlights the inquisitive mind and wide-ranging sensibilities of a composer who, although active in the far north of Europe showed a keen interest in what was happening on the continent.

Dan Laurin, recorder
Paradiso Musicale

Dan Laurin
In recent years the recorder virtuose Dan Laurin has performed in most parts of the world. Tours to the USA, Japan, Korea, India and Australia as well as appearances in the major European musical centres have confirmed his reputation as one of the most interesting – and sometimes controversial – performers on his instrument. His efforts to rediscover the sound possibilities of the recorder have resulted in a technical facility and a style of playing that have won him numerous awards including a Grammy, the Society of Swedish Composers‘ prize for the best interpretation of contemporary Swedish music and the Performer’s Prize from The Royal Swedish Academy of Music.

A lengthy collaboration with the Australian instrument maker Frederick Morgan resulted in a succession of reconstructions of instruments from earlier rimes, and this has greatly enriched the world of recorder music. Special mention should be made here of the instrument that was designed specifically for Dan Laurin’s recording of Jacob van Eyck ‘s monumental Der Fluyten Lust-hof, the largest work ever written for a wind instrument.

Besides working with early music. Dan Laurin has also premiéred numerous works by Swedish composers. His efforts to broaden the repertoire and to gain for the recorder the status of a concert instrument together with a large orchestra has resulted in several concertos that are already considered classics. Dan Laurin is professor of the recorder and teaches at Trinity College and Stockholm’s Royal College of Music. He is a member of the Royal Swedish Academy of Music In 2001 he received the medal ‘Litteris et Artibus’ from the King of Sweden.

Booklet für J.H. Roman: The 12 Flute Sonatas, Nos. 6-12