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Raymond Tuttle
Fanfare, January 2019

Bolette Roed describes having scouted out the right place to record these arrangements, and the right recorders to play them on. The place was a church which is part of the Augustenborg Castle on a Danish island. She plays no less than seven different recorders on the first disc, which is devoted to the sonata and partita movements. They are boxwood instruments of various sizes. On the second disc, devoted entirely to the cello suites, she plays just one instrument, a boxwood voiceflute. © 2019 Fanfare Read complete review



Phil Muse
Audio Video Club of Atlanta, September 2018

In these performances, Bolette Roed has her finest moments in the dance-inflected movements of the Brüggen arrangements, music that is most congenial to her instrument. They include the well-loved Gavotte en rondeau from Violin Partita No. 3, the stately Allemande from Cello Suite No. 1, and the robust Bourées I and II from Cello suite No. 3.

These performances are memorable as superb technical accomplishments, if not always for the tender charm one considers typical of the recorder family. © 2018 Audio Video Club of Atlanta Read complete review



William Yeoman
Gramophone, August 2018

Cello Suites Nos 1, 2 and 3 receive a very different treatment under the fingers of the Danish recorder player Bolette Roed, courtesy of Frans Brüggen’s masterly arrangements; also included are 11 movements from the Sonatas and Partitas originally for solo violin. …Roed’s performances honour the spare elegance of Brüggen’s arrangements while admitting of flexible tempos and generous breaths between phrases. The Allemanda in D minor is languorously beautiful, while faster movements such as the Allegro assai from the Sonata No 3 in C major truly give the impression of two recorders playing instead of one. © 2018 Gramophone Read complete review on Gramophone



David Denton
David's Review Corner, June 2018

Maybe the magazine editor didn’t know who to send the disc to, so it found its way to me, the release featuring a young Dutch recorder player called Frans Bruggen. Little did we know he would become a legend in his lifetime and at the forefront of restoring the instrument back in its rightful place as a major part of music from the Baroque era. It was an uphill struggle, as not only had the instrument lapsed into the periphery of music, so too had the works written for it become unknown. So it was that he arranged music for other instruments that were familiar to audiences as part of building the bridge, and into that realm came the music of Johann Sebastian Bach. He had a precedent as the composer had in his lifetime transcribed his works for various instruments as was customary at that time, and to hear the brilliance and tonal quality that Bruggen could extract from a recorder in this music was sufficient to delight audiences and forgave him any licence needed in the arrangements. He also realised that historic instruments would have to be replaced by modern copies, and a programme of recreating began. Now following in his footsteps is the multi-award winning Danish virtuoso, Bolette Roed, who is here recording the complete arrangements that Bruggen made of Sonatas, Partitas and Suites by Bach. I think they work quite well in the case of the violin adaptations, and Bruggen avoided those works that employ the full range of the instrument. Of the cello sonatas you must take these as completely ‘new’ works, the sound of the recorder being so divorced from the warmth and robust sound of the cello. Still, within a totally new musical orbit, they are very attractive. Technically this is immaculate playing, well within the feeling of period correctness, and performed on a group of reproduction instruments fully credited in the booklet. Recorded in a church acoustic my ears soon adapted to its resonance. © 2018 David’s Review Corner





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