Luogo e data di registrazione		Vienna (Austria) - settembre 1969 (Händel) Vienna (Austria) - marzo 1968 (Bach) Casino Zögernitz, Vienna (Austria) - marzo 1968 (Vivaldi)
	Registrazione: live / studio		studio
	Recording Supervision		-
	Edizione LP		TELEFUNKEN - 6.42330 AP - (1 LP - durata 46' 14") - (p) 1978 - Analogico
	Originale LP		TELEFUNKEN - SAWT 9559-A - (1 LP - durata 44' 21") - (p) 1970 - Analogico (Händel) TELEFUNKEN - SAWT 9536-A - (1 LP - durata 42' 17") - (p) 1969 - Analogico (Bach) TELEFUNKEN - SAWT 9528-A - (1 LP - durata 42' 47") - (p) 1968 - Analogico (Vivaldi)
	Prima Edizione CD		TELDEC "Frans Brüggen Edition" Vol. 12 - 4509-97474-2 - (1 CD - durata 68' 46") - (c) 1995 - ADD (Händel, Op.2/1b) TELDEC "Frans Brüggen Edition" Vol. 9 - 4509-97471-2 - (1 CD - durata 63' 40") - (c) 1995 - ADD (Händel, Op.2/5) TELDEC "Frans Brüggen Edition" Vol. 11 - 4509-97473-2 - (1 CD - durata 56' 18") - (c) 1995 - ADD (Bach) TELDEC "Frans Brüggen Edition" Vol. 8 - 4509-97470-2 - (1 CD - durata 63' 29") - (c) 1995 - ADD (Vivaldi)
	Note		-

Virtuosity once meant nothing more than the inherent integrity of musical and technical accomplishment. The virtuoso was plain and simply the post-creative artist. However, as early as in the 17th century this was already associated eith the idea of the miracle achievement, the artistic, and even of the sensational. There is typical "virtuoso music" especially created in order to give particular emphasis to extraordinary talent, the so-called "wizard player". Not infrequantly such unusual personalities composed for their own purposes - as for instance Niccolò Paganini or Franz Liszt - since only in this way did the utmost in self-fulfilment appear to be guaranteed. While the composer of earlier epochs wrote mainly for daily requirements, in more recent times a more marked and differentiated sense of history determined the manner of musical interpretation. The music of baygone epochs has long since ceased to be the concern of historians, but is increasingly becoming a firm integral part of our musical life. At the same time it has become apparent that the use of oroginal instruments by no means of itself guarantees adequate sound results. For this purpose an interpreter is required who mediates between the work and the sound. Applied to history, this can mean a radical change, namely the departure from more recent music-making experiences which often cloud our view of the original. Among the protagonists of this movement in our time - at least in the sector of flute music - is the Dutchman Frans Brüggen. Where the expressive dimensions of the composition call for it, this musician knows how to apply both the technique and sound of the transverse flute, and similarly in the field of historical music he realises how the completely different tonal values associated with the recorder should be employed. The present slection from the enormous repertoire of this musician provides testimony to the changeability and flexibility of the flute sound. It goes almost without saying that in this instance close partnership, i. e. history-conscious harmony among the ensemble members, is essential. Music by Handel, Bach and Vivaldi is taken here as a possibility of shalding off an emotionality with which it does not accord. In this way an alternative method results of letting this music appear in a different light from the accustomed one. The stage has long since been overcome in which instrumentally conditioned inadequacy was "cultivated" in order to arouse a feeling of greater authenticity. Intensive study of the soyrces and just as intensive committed transformation of the knowledge thus gained into sound open up fresh perspectives. To this extent virtuoso chamber does not mean only technically brilliantly executed interpretations, but also an active coming to terms with lost, erstwhile musical concepts which were "taken for granted". Thus at the same time new dimensions appear, in increasing ratio to the degree in which we become more acquainted with the performed works. Gerhard Wienke (English translation by Frederick A. Bishop)