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Jerry Dubins
Fanfare, January 2017

Paulina Fred sounds to me like a very talented flutist. Her technique in the fast movements is impeccable and her breath control in slow movements is impressive.

I would recommend this one for excellent playing, of course, but even more perhaps for its uniqueness in presenting Bach’s flute sonatas in combinations of different instruments. © 2017 Fanfare Read complete review

Charlotte Gardner
Gramophone, October 2016

…there’s plenty of good stuff, from the slightly more playful mood of the whole to the greater instrumental variety. © 2016 Gramophone Read complete review on Gramophone

Blair Sanderson, September 2016

Flutist Pauliina Fred and harpsichordist Aapo Häkkinen give scintillating performances, and the fluidity and spontaneity of their exchanges make these interpretations fresh and surprisingly loose. While Häkkinen maintains a consistent metric pulse, Fred plays with considerable freedom, lending a lyrical dimension to the music that contrasts well with the often Motorik accompaniment. 2016 Read complete review

David Denton
David's Review Corner, August 2016

Did Johann Sebastian Bach really write the six flute sonatas attributed to him after his death? Naxos seem pretty certain, this being their second complete recording. The problem of attribution comes from the fact that no one has been able to establish a date or place of composition of three of the scores, and if they were by Bach, why then did he leave the third sonata incomplete. Put those questions aside and all six sonatas have been gratefully accepted into the flute repertoire, the music largely of a happy disposition, the mercurial finale of the second sonata a particularly bright and brilliant score. Then again there is the question as to why—as works at the time were frequently composed as a series of six scores—did he describe three of them as for ‘Flute and Harpsichord’, and the other three as ‘Flute with Basso Continuo’, the first three being in three movements, and the second group in four? Then just to emphasise that these were not written as a group, the performers use differing copies of period instruments, including a Lute-harpsichord in the Fourth and a Clavichord in the Sixth. The Finnish duo of Pauliina Fred and Aapo Häkkinen are very nimble exponents who produce highly attractive performances, one presuming that the flute copies are authentic to the point that they have retained some questionable tuning that becomes obvious in slow movements. Very well balanced sound, all six sonatas being shoehorned onto the one disc, the previous highly regarded Naxos recording spreading them over two with additional material. © 2016 David’s Review Corner

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