Bach Flauto & Organo


The combination of recorder and organ in dialogue give us a rich tapestry of textures and moods from the playful to the sensual. With works by Johann Sebastian Bach, the result is an altogether inspiring concert of Baroque music full of life and energy!

Release: June 2022

Album Details


Sonate h-Moll BWV 1030
01 Andante
02 Largo e dolce
03 Presto
04 Allegro

Choraltrio BWV 655
05 Herr Jesu Christ dich zu uns wend’

Triosonate G-Dur  BWV 1039
(Original Key)
06 Adagio
07 Allegro ma non presto
08 Adagio e piano
09 Presto

Flötensonate Es-Dur BWV 1031
(Original Key)
10 Allegro moderato
11 Siciliana
12 Allegro

Triosonate d-Moll für Orgel BWV 527
13 Andante
14 Adagio e dolce
15 Vivace

Agnès Blanche Marc

“The playing of Agnès Marc is wonderfully unpretentious but never dry. She creates a sound world that lives, tells a story, and invites participation. Her tone invites and captivates us, allowing us to fall gently in the ineffable musicality of Johann Sebastian Bach.” (Süddeutsche Zeitung on Marc’s performance of Bach’s Partita, BWV 1013).
Like many children, Agnès Blanche Marc began playing recorder at the age of eight. She was captivated by its tone, and the instrument soon became her passion. After studying with Jean-Noel Catrice, Claire Michon, Sébastien Marq and Hugo Reyne, she went on to win the Gold Medal with distinction, earned the State Diploma for Early Music, and won the Paris Lucien Wurmser Competition. She also began to give concerts. By the age of 18, she had already taught at various Paris conservatories. On top of this, she also played viola in a string quartet, and through this met Sergiu Celibidache for the first time. Soon after, she moved to Munich in order to study conducting and the phenomenology of music with the great conductor. Completing her musical training were a period of viola study with Walter Daga in Verona and vocal studies with Birgit Nickl in Munich. This broad range of experience, coupled with her experience as a conductor, has influenced her recorder playing considerably. Composers such as Vladimir Genin, Graham Waterhouse, Chistoph Yunès have also taken note of Marc and have dedicated recorder works to her.
From 1995 to 2013 Marc taught recorder and chamber music at the Ludwig Maximilian University in Munich. Her three-volume recorder instruction series, entitled My Recorder and I, is published by Edition Delor. From 2012 to 2018 she served as vice president of the European Recorder Player Society (ERPS). In 2012 she planned, organized, and moderated “Celibidache – 100 Years, the Festival.”
Agnès Blanche Marc has been a docent at many seminars, webinars, masterclasses and training sessions for recorder, pedagogy, phenomenology, and chamber music in Germany, Austria, Switzerland, Italy, and France. She coaches professional musicians, ensembles, and students who are preparing for important appearances and international competitions. She gives concerts as a soloist and as a member of various orchestras both in Germany and France.
For this recording Agnès Blanche Marc plays recorders made by Francesco Li Virghi, Lucca de Paolis, Ralf Ehlert, Küng (K4) (Altos) and Doris Kulossa und Friedrich van Huene (Sopranos)

Helene von Rechenberg

Helene von Rechenberg hails from Munich where she received her first lessons in piano, violin, and organ. She studied church music in Freiburg with Klemens Schnorr followed by performance studies with Michael Radulescu in Vienna, passing with a unanimous vote of distinction. She has been a prize winner at the international competition in Odense, Denmark and the ION Competition in Nuremberg. From 2005 to 2006 she was the cathedral organist in St. Pölten, Lower Austria. From 2006 to 2009 she taught organ and liturgical organ playing at the Conservatory for Church Music at the Archdiocese in Vienna and served as a consultant for choir and church music festivals. From 2008 to 2009 she worked as the monastery organist in Heiligenkreuz in Wienerwald, Lower Austria.
Today, Helene von Rechenberg is able to look back on a busy international career, including concerts in China in 2009 and 2012. She has also made compact discs. In 2007 she recorded a CD for Spektral entitled “The Pope Benedict Organ, Regensburg International Organ Festival.” The Süddeutsche Zeitung praised the CD as demonstrating “great ability and naturally developed musicianship.” In the summer of 2009 von Rechenberg returned to her homeland where she has since been active as church musician and organist in Tutzing am Starnberger See. The Tutzing Orgelherbst has taken place since the autumn of 2010 and there have been numerous concerts of various kinds. In 2012 she assumed leadership of the venerable church choir of St. Joseph, with whom she has given many noteworthy concerts in recent years. She is especially dedicated to performing Early Music on period instruments. Since 2017 she has given courses on Baroque music in the Munich area.
In December 2018 Helene von Rechenberg was honoured with the Wilhelm Hausenstein Culture Prize, given by the Tutzing church for her outstanding musical and cultural work. In April 2019 she was named Dean of Church Music at the Starnberg Deanery. Beginning in April 2022 she will begin serving as church musician and Dean of Church Music in Füssen, where, among other tasks, she will devote her energies to the care of the city’s historical instruments.
The organ in the parish church of St. Joseph was rebuilt in 1983/84 by the organ building company Sandtner after its predecessor from 1930 (made by Hindelang) was too damaged and appeared irreparable. The current organ now has 44 stops and 3012 pipes, 445 are coming from the old organ. The organ has three manuals. The “Swell” is based on the timbres and stops of the French symphonic organs, the “Great” and the “Positif/Choir” have a classic »neo-baroque« disposition.

Total length: 63:05

Texte in Deutsch und Englisch (24 Seiten)

P+C 2021 Spektral, LC 15543
Best.-Nr. SRL4-20180
EAN: 4260130381806

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