The Consort
Rosie Bowker
Volume 75, Summer 2019
Simon Balicourt Sonatas in A major and G minor (1st set, nos. 5, 6),
for flute and basso continuo
ed. MICHAEL TALBOT
Edition HH, HH447.FSP, Launton, 2017
(pbk, £14.50)
ISMN 979 0 708146 54 4
www.editionhh.co.uk
It has been a real treat to discover Simon Balicourt’s sonatas for flute and basso continuo, thanks to Michael Talbot’s new editions. All sixteen sonatas are available from Edition HH and are published in pairs. I initially came to know the music of Balicourt (1706-57) through his second set of eight sonatas, which were published posthumously in 1760 by John Johnson and are available on IMSLP. The original edition of Balicourt’s first set of sonatas is harder to gain access to. It was published privately for subscribers in February 1750 and Talbot’s new edition has been made from a source that is currently held in the Rowe Music Library at King’s College Cambridge and reproduced in a microfilm at Nottingham University library. While it is a shame that this original edition of the first set of sonatas is not so readily available online, this means that Talbot’s edition is all the more welcome.
Simon Balicourt’s first set of Eight Solos for a German Flute and a Bass was advertised in late 1749 as being ‘designed for the Improvement of such Lovers of the Instrument, as are desirous of acquiring a full Expression and Execution thereon; as likewise interspersed with several easy Movements fit for middling Proficients’. ‘A full Expression and Execution’ are the order of the day in Balicourt’s sonatas in A major and G minor reviewed here. Balicourt himself was clearly a fine flautist. The A major sonata opens with a virtuosic Vivace that includes some delightful interplay of rising flourishes between flute and continuo. The final Allegro comodo also puts the flute player’s technique to the test with a large number of arpeggiated figures. The short Andante second movement may be one of Balicourt’s ‘several easy Movements’, though in reality it is neither ‘easy’ nor short of interesting details in rhythm, articulation and ornamentation.
After the fireworks of the A major sonata, the G minor is the more expressive of the two. It opens with a fairly substantial Largo which starts with short, breathless phrases that give way to longer sequences and show off varied articulations. The music is highly improvisatory and allows the flautist a great deal of freedom if desired. This is followed by a dancing, Italianate Allegro which features extended violinistic passagework. To finish, Balicourt presents two minuet-like dances, an Affettuoso and a Poco Allegro, in a composite structure. This music is quite delightful and allows for plenty of ornamentation in the repeats.
Talbot’s fine scholarship is evident in his introduction which provides a context to Balicourt’s sonatas and discusses the various editorial decisions made. For those who are curious to find out more about Balicourt (as I was!), Talbot’s article in The Consort, vol. 74 (2018) entitled ‘Esteemed one of the Best Masters of the German Flute: Simon Balicourt, an Instrumentalist and Composer in Georgian London’ is a fascinating read. The Edition HH publication has a clear layout; it comes with separate flute and basso parts as well as a full score with Balicourt’s figures and a realisation by Talbot. The realisation is probably more useful for those flute players choosing to play these sonatas with piano, as period performers will probably want to make their own. I highly recommend this edition of Balicourt’s sonatas to any flute player who wishes to discover and perform this highly inventive and original music from Georgian London.
We are grateful to theThe Consort for permission to reproduce this review.
Sonatas in A major and G minor