Anner Bylsma won me over completely with this recording. His musicianship is dazzling. Any reservations I may have had evaporated in the first minutes of listening to his imaginatively—one might say, playfully—conceived recording. It is a charming conceit to record solo violin and flute music on a child's-size cello (violoncello piccolo), tuned an octave lower than a violin (with three normal gut strings and a bass viol 'd' tuned to 'c') and Bylsma carries it off with delicacy and panache.
How does this square with his reputation for authenticity, you may ask. Bach makes numerous references to the violoncello piccolo as an obbligato instrument in his scores and would have been the last to object to these transcriptions: he would very likely have been delighted with the seamlessness of the A minor Flute Sonata (particularly the Allemande), undisturbed by the need to take breaths. Because of the complementary tuning, violinistic chords (even in the Fuga of BWV1003) and double trills present no difficulties: Bylsma adds chords (in the style of BWV1003) to the Corrente of BWV1013 which enhance rather than burden the texture. The timbre of the small cello—especially in the Flute Sonata—is very successful.
Students of these works—violinists and flautists—will find his interpretation (the tempos phrasing and the control of silence afforded by his baroque bow) and elegance of execution full of insight. Great enthusiasm for the music and the game are conveyed in every movement. The recording should give pleasure to anyone who loves this music and values an inspired performance. Seasoned readers of the accompanying literature will appreciate the intimate reflections penned by Bylsma.'