J.S. Bach: Sonatas for Flute and Harpsichord Stefanie Troffaes & Julien Wolfs

• 1 I. Adagio ma non tanto 03:08
• 2 II. Allegro 02:49
• 3 III. Andante 03:34
• 4 IV. Allegro 03:42
• 5 I. Largo e dolce 03:08
• 6 II. Allegro 04:34
• 7 I. Toccata 06:39
• 8 II. Allemanda 02:56
• 9 III. Corrente 03:51
• 10 IV. Air 01:07
• 11 V. Sarabande 04:54
• 12 VI. Tempo di Gavotta 01:31
• 13 VII. Gigue 04:52
• 14 I. Adagio ma non tanto 02:17
• 15 II. Allegro 03:10
• 16 III. Siciliana 03:39
• 17 IV. Allegro assai 03:20
• 18 I. Andante 08:08
• 19 II. Largo e dolce 03:52
• 20 III. Presto 05:44
• Total Runtime 01:16:55

Info for J.S. Bach: Sonatas for Flute and Harpsichord

In the day when Bach lived and worked, lyrics and music were closely interwoven. Employing a fairly rational approach in his cantatas, for example, Bach tried to replicate the emotionally-charged words in the music. The narrative power of Bach's vocal and instrumental music did not come from nowhere, though. There are overlaps with a certain branch of classics, where the expressiveness of the word was central, namely rhetoric.

After all, in classical antiquity, speakers often looked for ways of adding more weight to what they wanted to say. That is how the discipline rhetoric came to pass, the art of speaking in the most persuasive manner possible. Through a number of techniques, you could compose your argument in a way that capitalized on eloquence. Speakers employed pauses, voice rises, emphatic repetition and arguments that led to a climax. It is very likely that those speakers enjoyed more success than those who recited the same content but in a monotonous voice.

Stefanie Troffaes, transverse flute
Julien Wolfs, harpsichord

Stefanie Troffaes
was born in Bruges, Belgium, in 1980, where she attended ute lessons with Patrick Beuckels and recorder lessons with Tomma Wessel. Stefanie continued her studies at the Brussels Royal Conservatory with Marc Hantaï, Barthold Kuijken and Frank Theuns for the ute and with Bart Coen for the recorder. Besides her Master’s degree which she concluded with magnum cum laude, she also received the prestigious Köberle Prize there. She has followed master classes with Daniël Brüggen, Karl Keiser and Wilbert Hazelzet.

In 2002, Stefanie was finalist at the International Soloist Competition Musica Antiqua Brugge, and in 2015, she was nominated by radio Klara for the Audience Prize Young Talent 2014 for her promising career.

She has performed freelance with numerous internationally renowned ensembles, including Les Talens Lyriques, B’Rock, Le Concert d’Astrée, Collegium Vocale, Les Mu atti, Insula Orchestra and Bach Concentus.

Stefanie has assisted in recordings for the labels Alpha, Musica Ficta, Naïve, Archiv Productions, Aparté, Challenge, Opus Arte, Palazzetto Bru Zane and Virgin.

Julien Wolfs
was born in Jodoigne, Belgium, in 1983, where he received his first harpsichord lessons from his mother Marie-Anne Dachy. He studied at the Amsterdam Conservatory and obtained his Master’s degree under Menno van Delft. At the Conservatoire National Supérieur de Lyon, he continued his studies with Françoise Lengellé and Dirk Börner, where he earned a Master’s degree in chamber music. At the IMEP in Namur, he also gained a Master’s degree in pedagogy.

In 2007, Julien Wolfs was first laureate at the international contest for harpsichord at Musica Antiqua Brugge. Besides a shared second prize, he also scooped the Audience Award and the Editions Minko Prize.

Julien is founding member of the ensemble Les Timbres. In 2009, the ensemble won rst prize at the contest Musica Antiqua Brugge, along with the special prize for the best performance of a contemporary creation. Their first CD Les Pièces de Clavecin en Concerts of Jean-Philippe Rameau was awarded a Diapason d’Or in 2014.

Julien was a guest at prestigious festivals in Europa and Japan, both as a soloist and in chamber music. He can be heard in the following ensembles and alongside the following artists: Les Timbres, Ricercar Consort, Philippe Pierlot, Lingua Franca, Benoît Laurent and For two to play. He has taken part in several recordings for the labels Ricercar, Ligia Digital, Flora and Mirare.

Booklet for J.S. Bach: Sonatas for Flute and Harpsichord