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Sonaten für Clavier und Flöte
Carl Philipp Emanuel Bach

Tini Mathot | Reine-Marie Verhagen

Sonaten für Clavier und Flöte

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917200768
Catnr: CC 720076
Release date: 17 July 2026
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1 CD
€ 19.95
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Label
Challenge Classics
UPC
0608917200768
Catalogue number
CC 720076
Release date
17 July 2026
Album
Artist(s)
Composer(s)
EN
DE

About the album

This album brings to life the richly expressive world of Carl Philipp Emanuel Bach, a composer who stood at the crossroads of baroque tradition and classical innovation. These sonatas for keyboard and flute reveal a musical language in transition: rooted in the structural clarity of the baroque trio sonata, yet transformed through Bach’s bold, sensitive exploration of emotion and individuality. In these works, the keyboard emerges as an equal partner rather than a mere accompaniment, embodying a new, modern voice that reflects the composer’s forward-thinking spirit and his pivotal role in shaping the expressive “Empfindsamer Stil.”

Performed with historical insight and artistic imagination, this recording highlights both the versatility of the instruments and the performers’ deep engagement with the repertoire. By embracing original keys, nuanced dynamics, and inventive interpretation, the musicians illuminate the subtle dialogue between recorder and harpsichord, revealing music that is at once intimate, daring, and alive with contrast. The result is a vivid portrait of a composer constantly searching for new means of expression - bridging eras, expanding possibilities and inviting listeners into a world of refined emotion and creative discovery.

Dieses Album erweckt die reich ausdrucksvolle Welt Carl Philipp Emanuel Bachs zum Leben, eines Komponisten, der an der Schnittstelle zwischen barocker Tradition und klassischer Neuerung stand. Diese Sonaten für Tasteninstrument und Flöte offenbaren eine musikalische Sprache im Wandel: verwurzelt in der strukturellen Klarheit der barocken Triosonate, zugleich aber verwandelt durch Bachs kühne und einfühlsame Erforschung von Emotion und Individualität. In diesen Werken tritt das Tasteninstrument als gleichberechtigter Partner hervor und nicht bloß als Begleitung; es verkörpert eine neue, moderne Stimme, die den zukunftsweisenden Geist des Komponisten und seine zentrale Rolle bei der Prägung des ausdrucksstarken „empfindsamen Stils“ widerspiegelt.

Mit historischem Gespür und künstlerischer Vorstellungskraft eingespielt, hebt diese Aufnahme sowohl die Vielseitigkeit der Instrumente als auch die intensive Auseinandersetzung der Ausführenden mit dem Repertoire hervor. Indem sie originale Tonarten, nuancierte Dynamik und eine erfinderische Interpretation aufgreifen, lassen die Musiker den feinen Dialog zwischen Blockflöte und Cembalo aufleuchten und offenbaren eine Musik, die zugleich innig, kühn und voller Kontraste ist. Das Ergebnis ist ein lebendiges Porträt eines Komponisten, der unablässig nach neuen Ausdrucksmöglichkeiten suchte Epochen überbrückte, Möglichkeiten erweiterte und die Hörer in eine Welt verfeinerter Empfindung und schöpferischer Entdeckung einlädt.

Artist(s)

Tini Mathot (harpsichord)

Tini Mathot was born in Amsterdam. She studied piano and harpsichord at the Amsterdam Sweelinck Conservatory. She enjoys a close collaboration with her husband and former teacher Ton Koopman. Together they perform many popular and lesser known works, giving recitals and performing in chamber music projects in the major concert halls of Europe, the United States and Japan. Tini Mathot regularly appears as a soloist together with Ton Koopman in concertos for two (or more) harpsichords and orchestra. She has recorded double concertos of J.S. Bach, C.P.E. Bach, J.F. Reichardt and C. Schaffrath with the Amsterdam Baroque Orchestra. Tini Mathot is a member of the Corelli Ensemble, whose members include Reine-Marie Verhagen. The ensemble was awarded the Diapason d’Or in France for...
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Tini Mathot was born in Amsterdam. She studied piano and harpsichord at the Amsterdam Sweelinck Conservatory.
She enjoys a close collaboration with her husband and former teacher Ton Koopman. Together they perform many popular and lesser known works, giving recitals and performing in chamber music projects in the major concert halls of Europe, the United States and Japan. Tini Mathot regularly appears as a soloist together with Ton Koopman in concertos for two (or more) harpsichords and orchestra. She has recorded double concertos of J.S. Bach, C.P.E. Bach, J.F. Reichardt and C. Schaffrath with the Amsterdam Baroque Orchestra.
Tini Mathot is a member of the Corelli Ensemble, whose members include Reine-Marie Verhagen. The ensemble was awarded the Diapason d’Or in France for its recording of Haydn trios (with Andrew Manze and Jaap ter Linden), issued by Erato. The CD recording of Schubert’s ‘Winterreise’, sung by the baritone Klaus Mertens with Tini Mathot playing an original Rosenberger fortepiano, was released in 2005, followed by a recording of J.S. Bach’s organ trio sonatas with Reine-Marie Verhagen (recorder) and Tini Mathot (organ and harpsichord) in 2008, both CDs issued by Challenge Classics.
In her capacity as producer for Ton Koopman’s Amsterdam Baroque Orchestra & Choir and also for other ensembles, Tini Mathot has produced numerous CDs for Erato, Teldec and Antoine Marchand/Challenge Classics, among other labels. She is the producer of the complete series of Bach cantatas by Ton Koopman and the ABO&C as well as the Opera Omnia of Dieterich Buxtehude, which Ton Koopman is currently working on. In addition to these activities Tini Mathot teaches harpsichord at the Royal Conservatory of The Hague.
 Tini Mathot plays on a fortepiano by Mathias Müller, Vienna c. 1810 (with a range of 6 octaves FF-f4, an Empire-style case with bronze fittings and Caryatid legs), from the collection of Edwin Beunk, Enschede (NL). The instrument is typical of the Viennese building style around 1810. Mathias Müller had a reputation as an innovator with regard to instruments and was ‘Kaiserlich-Königlich priviligiert’.

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Reine-Marie Verhagen (recorder)

Reine-Marie Verhagen studied the recorder with Pieter van Veen and Walter van Hauwe and graduated in 1976. She is a regular member of the Amsterdam Baroque Orchestra, conducted by Ton Koopman. With the ensemble La Sfera Armoniosa conducted by Mike Fentross she performed several 17th century operas. For the past 10 years she has also regularly performed 17th-18th and 20th-century music in San Francisco, Amherst, Boston, and New York. Verhagen takes keen interest in the contemporary repertoire. For the Steve Reich festival at the Royal Conservatory at The Hague in December 2003, she made a very successful transcription of his Vermont Counterpoint for solo recorder and an 11-member recorder ensemble. This composition was also performed in October 2007 at the International...
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Reine-Marie Verhagen studied the recorder with Pieter van Veen and Walter van Hauwe and graduated in 1976. She is a regular member of the Amsterdam Baroque Orchestra, conducted by Ton Koopman. With the ensemble La Sfera Armoniosa conducted by Mike Fentross she performed several 17th century operas. For the past 10 years she has also regularly performed 17th-18th and 20th-century music in San Francisco, Amherst, Boston, and New York.
Verhagen takes keen interest in the contemporary repertoire. For the Steve Reich festival at the Royal Conservatory at The Hague in December 2003, she made a very successful transcription of his Vermont Counterpoint for solo recorder and an 11-member recorder ensemble. This composition was also performed in October 2007 at the International Minimal Music Festival in Kassel, Germany, in combination with the premiere of a new minimal composition, written for Reine-Marie Verhagen, by Ulli Goette: “Mural”.
Not confining herself exclusively to musical performance, Reine-Marie Verhagen was a co-founder and former member of the board of the Dutch branch of the ERTA
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Composer(s)

Carl Philipp Emanuel Bach

It can't be easy to have been a son of the great Johann Sebastian Bach. Bach was undoubtedly very strict, and if you'd have any composition ambitions, you would have to find a way to step out of the shadow of your father. Luckily, his sons had everything going for them considering their music. Whereas the traditional Baroque music of their father slowly went out of fashion, most of Bach's sons managed to follow the new trends of the early Classicism. In other words: relatively simple, melodic music which is not too heavy on the listener, yet still very passionate.  Carl Philipp Emanuel, Bach's fifth son, became the most outstanding among his siblings. Like each of Bach's sons, he received a...
more

It can't be easy to have been a son of the great Johann Sebastian Bach. Bach was undoubtedly very strict, and if you'd have any composition ambitions, you would have to find a way to step out of the shadow of your father. Luckily, his sons had everything going for them considering their music. Whereas the traditional Baroque music of their father slowly went out of fashion, most of Bach's sons managed to follow the new trends of the early Classicism. In other words: relatively simple, melodic music which is not too heavy on the listener, yet still very passionate.

Carl Philipp Emanuel, Bach's fifth son, became the most outstanding among his siblings. Like each of Bach's sons, he received a solid education from his father, en Carl Philipp developed into a remarkably talented keyboardist. Moreover, he became a prolific composer and of all Bach's sons, he was able to came closest to the quality of his father's work, albeit in a completely different style.


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Press

Play album Play album
01.
Sonata in E Major for keyboard and flute Wq 84: I. Allegretto
05:47
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
02.
Sonata in E Major for keyboard and flute Wq 84: II. Adagio di molto
03:45
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
03.
Sonata in E Major for keyboard and flute Wq 84: III. Allegro assai
03:44
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
04.
Sonata in C Major for keyboard and flute Wq 87: I. Allegretto
04:10
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
05.
Sonata in C Major for keyboard and flute Wq 87: II. Andantino
03:09
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
06.
Sonata in C Major for keyboard and flute Wq 87: III. Allegro
03:42
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
07.
Sonata in G Major for keyboard and flute Wq 85: I. Allegretto
04:38
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
08.
Sonata in G Major for keyboard and flute Wq 85: II. Andantino
03:26
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
09.
Sonata in G Major for keyboard and flute Wq 85: III. Allegro
03:26
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
10.
Harpsichord Sonata in G Minor Wq 65/11: I. Allegro
03:09
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
11.
Harpsichord Sonata in G Minor Wq 65/11: II. Andante
02:27
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
12.
Harpsichord Sonata in G Minor Wq 65/11: III. Allegretto grazioso
02:50
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
13.
Sonata in G Major for keyboard and flute Wq 86: I. Andante
03:06
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
14.
Sonata in G Major for keyboard and flute Wq 86: II. Allegretto
04:29
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
15.
Sonata in G Major for keyboard and flute Wq 86: III. Allegro
03:53
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
16.
Sonata in D Major for keyboard and flute Wq 83: I. Allegro un poco
04:27
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
17.
Sonata in D Major for keyboard and flute Wq 83: II. Largo
05:14
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
18.
Sonata in D Major for keyboard and flute Wq 83: III. Allegro
04:13
(Carl Philipp Emanuel Bach) Tini Mathot, Reine-Marie Verhagen
show all tracks

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