'To the Northern Star' - strong performances from Flauguissimo and friends of delightful chamber works for flute by 'the Father of Swedish Music', Johan Helmich Roman (1694-1758)

The ensemble Flauguissimo Duo (Yu-Wei Hu (flute) and Johan Löfving (theorbo/guitar)) first came to my attention when they were BREMF Live! artists at Brighton Early Music Festival back in 2012. Since then, they have released their debut album, A Salon Opera (my review here), and Löfving also released an album of music for guitar and string quartet with the Consone Quartet (also BREMF Live! participants in 2016) (my review here). So it is great to see them back with another release, and I was fortunate to see them performing works from the recording as they completed their album launch tour, appropriately enough at a satellite event prior to this year’s Brighton Early Music Festival. Their album, ‘To the Northern Star’, consists of chamber works by Johann Helmich Roman (1694-1758), and they are joined by Magdalena Loth-Hill (violin), Henrik Persson (viola da gamba) and Emily Atkinson (soprano). I have to confess, Roman was new to me, despite being hailed as ‘The Father of Swedish Music’. He studied alongside J. S. Bach’s brother, Johann Jacob, and then spent considerable time in London, performing at the King’s Theatre in Handel’s orchestra. He returned to Stockholm to the court of Frederick I and Queen Ulrica Eleonora, and he dedicated the publication of his Twelve Sonatas for flute and basso continuo to the Queen in 1727. Flauguissimo have recorded three of those sonatas here, and they are full of delightful invention, grace and elegance. Yu-Wei Hu makes her flute sing in the aria-like movements, such as the opening Largo of No. 4, and her rippling ornamentations flow effortlessly, as in the French overture-like Larghetto at the start of No. 10. The quicker movements dance along, and Löfving switches between theorbo and guitar to provide variety of texture. Persson’s viola da gamba provides an almost hurdy-gurdy effect in the rustic Piva of No. 10 around which the flute circles, and the closing Villanella feels even more rustic, with tapping and strumming accompaniment. Hu’s flowing lines are impressively fluid, with precise articulation and rare pauses for breath. Roman favours a lilting swing for his quicker movements – moments of rapid virtuosity are relatively few and far apart, but when they come, such as in the Allegro following the Adagio in No. 8, Hu’s precision is impressive, and here matched with swift articulation from Persson in response. Alongside the Sonatas, there are two Arias here. The first, ‘Süße Zeiten eilet nicht’, comes from the Cantata in einer Taffel-Music, opens with delightful cascading flute passages over a delicately falling bass line. Atkinson’s bright clear soprano joins with gently lilting lines, gradually picking up more ornamentation to match the flute, with Loth-Hill’s beautifully blended violin joining the action. Atkinson returns for the second aria, this time in Swedish, with ‘I eder bästa vår’ from Bröllops Music, written for an aristocratic wedding. Again, Atkinson demonstrates flowing virtuosity in the vocal lines, with bright and joyful communication of the text, although the recording balance is a little heavily in favour of the voice, so that the flute doubling of the vocal line is only just audible. But this aria is also striking for its violin part, with an extensive solo cadenza-like passage, full of Baroque string crossing and sequences, with more than a hint of Corelli, following the lyrical opening. Loth-Hill is impressive here, particularly when rising into the high registers, keeping a bright and clear tone throughout. They end their recording with their own arrangement of the Trio Sonata No. 3 in E minor, originally written for two violins and continuo, here performed with flute and violin on the top lines. The opening, sad Largo sounds like a Bach chorale, and Hu & Loth-Hill beautifully blend their instruments here. The Vivace that follows brings virtuosity and spirit for both instruments, with additional energy perhaps missing from the more stylish Sonatas. Persson matches their virtuosity with nimble syncopation here. More strumming from Löfving and swinging ornamented lines bring the Trio Sonata and their disc to a lively finish. It’s great to hear this delightful music receiving such strong and dedicated performances from Flauguissimo and friends, and hopefully there will be more Roman to come from them.  

Roman, J.H. 2023. To the Northern Star - Chamber works for flute. Flauguissimo: Yu-Wei Hu, Johan Löfving, Magdalena Loth-Hill, Emily Atkinson, Henrik Persson. Compact Disc. Resonus Classics. RES10316.