Johann Philipp Kirnberger (also Kernberg, 1721 - 1783)
was a musician, composer (primarily of fugues), and
music theorist. He was a student of Bach and is known
mostly as a theorist and musical commentator.
Most of his works are for keyboard, the theorist's
medium, and recordings of any of them remain
infrequent. The music dates from the 1760s. The two
trios for flute, cello, and harpsichord -- more than
trio sonatas in places -- he dismisses with the
statement that they "seem to have ...(+)
Johann Philipp Kirnberger (also Kernberg, 1721 - 1783)
was a musician, composer (primarily of fugues), and
music theorist. He was a student of Bach and is known
mostly as a theorist and musical commentator.
Most of his works are for keyboard, the theorist's
medium, and recordings of any of them remain
infrequent. The music dates from the 1760s. The two
trios for flute, cello, and harpsichord -- more than
trio sonatas in places -- he dismisses with the
statement that they "seem to have been conceived...as
contrapuntal finger exercises." There is a lot of sheer
figuration in all these pieces, but no more than one
would expect from a keyboardist student of Bach's, and
the contrasts between stout Baroque chords in the
harpsichord and lighthearted ornament in the flute,
which tends to make itself known as a movement
proceeds, is charming. The works for solo harpsichord
are purely in the Bach mold, but all the works with
flute show evidence of an intriguing effort to
reconcile the teachings of a very conservative mentor
with new stylistic trends. This isn't an essential work
for the casual listener, but it will give those who
love the music of the middle eighteenth century both
enjoyment and food for thought: the trios may have more
to do with the roots of chamber music than is generally
supposed.
Although this piece was originally written for Flute
(Recorder) and continuo, I created this arrangement for
Flute and Concert (Pedal) Harp.
PARTITION