Sybrandus van Noordt and Unico Wilhelm van Wassenaer are the only native Dutch composers represented on Erik Bosgraaf’s latest album, but his selection nonetheless illustrates both the high quality of musical culture in a nation without aristocratic courts, and also the central place of the recorder within that culture. Andreas Parcham, Johann Christian Schickhardt and Jean-Marie Leclair are known to have lived and worked in the Republic; Jean-Baptiste Loeillet was born in Ghent and worked in Lyon, but his recorder sonatas were all published in Amsterdam. History has been a little unkind to Unico Wilhelm van Wassenaer, remembering him latterly above all as the composer of the attractive Concerti Armonici which were previously attributed to Pergolesi. That such a confusion could have arisen in the first place is testament to the originality and craftsmanship of a musician-composer who was evidently in touch with the latest Italian developments in Italian style from his home in The Hague.

The three sonatas on this album expand our understanding of van Wassanaer, and they are complemented by little-known composers with a similarly internationalist outlook such as the Danzig-born Andreas Parcham and the well-travelled Jean-Marie Leclair. The four-movement suite of lively character pieces by Fiocco is extracted from a collection originally written for harpsichord, and opens with an Allegro made famous through a violin-and-piano arrangement recorded by the likes of Menuhin and Perlman; Bosgraaf restores its original character. In the second half of the 17th century, the recorder underwent a revolutionary development which turned it into a sophisticated instrument. Erik Bosgraaf plays seven different instruments here, ranging from sopranino to bass, all of them built with a particular range of pitch but also distinct palette of timbres.

REVIEWS:

Bosgraaf is a virtuosic player, whose performances are always energetic. Sometimes he tends to go overboard, for instance in his choice of tempi and the addition of ornamentation. Here he behaves almost impeccably. Some movements in Schickhardt's sonata are played very fast, but that seems justified. Bosgraaf makes a nice difference between the two ensuing allegros in the middle of this sonata. There is just one issue: in the opening movement of Van Noordt's sonata it was decided to add some chirping. I don't like this kind of gimmick, and the music doesn't need it. In a time when the use of a string bass seems the rule, and the participation of a plucked instrument almost inevitable, it is nice that the performers have confined themselves to the harpsichord for the basso continuo. The two artists often collaborate, and Corti is again an excellent partner, who also delivers a fine performance of the pieces by Fiocco.

In short, this is a delightful disc which will appeal not only to recorder aficionados.

-- Musica Dei Donum

Most of us haven’t heard of Unico Wilhelm van Wassenaer (1692-1766), but that’s who wrote more of the music on this program than anyone else. Some of his contemporaries—Fiocco, Leclair, Loeillet, Van Noordt, Parcham, and Schickhardt—will be more or even less familiar. They were all in some way related to the Dutch Republic. 7 members of the recorder family are used with a modern copy of a 1732 harpsichord tuned at A=392, generally considered the French standard. Erik Bosgraaf sings, whatever the size and pitch of the instrument he’s playing. Francesco Corti employs the buff stop now and then but accompanies ably all the way through. He gets the Fiocco to himself: four movements that conclude the First Suite of Harpsichord Pieces, Op. 1. Balance between the two players and through the range of the harpsichord is excellent. Ornamentation keeps things lively, so your attention never flags. Since there are 38 tracks, all of them are relatively short, making for plenty of variety. They may go by even faster than you wish, because everything is worth hearing again! Music like this—often with a strong influence of Italians like Vivaldi—is how 18th Century Dutch passed the time when they had leisure, and when you have leisure you’ll enjoy it too. Also consider hearing from Jeremias Schwarzer and Ralf Waldner on Genuin 19646 (S/O 2019, p 177). A 28-page booklet gives notes by musicologist Thiemo Wind in English and German along with many illustrations. This recording was made in a church apparently next to a field with cows, so the range of pictures extends from the sacred to the profane or mundane, but that’s the only mundane thing about this collection!

-- American Record Guide