The Suite, BWV1006a, often regarded by harpists as their 'property' is here transposed from E to E flat major—why? I am indebted to Sioned Williams for the answer: repeated notes in the Praludium are unavailable as 'synonymous notes' on the modern harp unless the key is changed, but they would have been naturally available on the triple (pedal-less) harp of which Bach must have known. This supports the harp's claim to the work but leaves a question: Bach, an essentially nutsand-bolts composer, would not have made such an arrangement unless he knew of a virtuoso who might play it, who might it have been? We have no idea. Maria Graf plucks and pedals her way through it stylishly but in rather genteel fashion. The most successful movement is the Praludium, with some magical sounds in the echo phrases, but the 4' 53'' Loure is utterly soporific. Extended ornaments are not the harp's strong suit and despite Graf's undoubted skill they often come across as toothless murmurs. It's interesting but I'm not convinced that this is a successful marriage.
Irena Grafenauer is a very good flautist who produces a beguilingly soft-edged sound from her modern instrument, and whose breath-control permits long, undisturbed lines. Her phrasing articulation and dynamics are impeccable; she shows herself capable of hanging some graceful ornaments on her lines but reserves them for particular movements, rather than seizing every available opportunity. Baroque composers were famously tolerant in such matters—but harp vice harpsichord? It fulfils its continuo function in BWV1033 well enough, though in the Presto it is the cello (played pizzicato in the repeats) that provides the main impetus, the harp's chords often supplying a hearer-friendly but unincisive coloration. The other three sonatas succeed well enough especially BWV1020, with the harp more forwardly balanced, but Graf has variable success in preventing unwanted cumulative sounds and in managing quick ornaments with anything like crispness. Skilful as the performers are, the overall impression of all except the solo Partita, BWV1013 is pleasant, decently stylish and softcentred, an agreeable experience but no substitute for 'the real thing'.'