All six of the flute sonatas cannot be fitted on to one Compact Disc without sacrificing repeats, but to omit the two 'questioned' items (BWV1031, 1033) would leave an underfilled one. Working within the limits of a single disc, Jurkovic and Ruzickova have chosen wisely: to the 'basic' four sonatas (B minor, A major, E minor, E major) they have added that in E flat major (BWV1031) the better of the other two. It is strange to omit the first movement of the A major Sonata, as they do, which, though it has survived incomplete (the annotation makes no mention of this), has been satisfactorily completed by several scholars and it is hard to believe that this was unknown to the performers; 'we-play-no-more-than-Bach-wrote' purism, if such it be in this case, is not in tune with these times (the recording dates from late 1984). That these are distinctly dull perfommances is due in part to some inordinately slow tempos (BWV1030/II, 1031/II and 1034/III induce sleep as they appear to have done in the players), and in part to the fact that Jurkovic is a rather dull player: his flat-tongued attack often denatures movements that should dance, his pitch frequently sounds on the edge of flatness, and his minimal application of rubato or dynamic shape often leaves lines with little more than pitchprofile. In these respects he is no match for Adorjan on Denon.
Something of the same rigidity seems to have rubbed off on Ruzickova, erasing most of her innate (if not always appropriate) romanticism but not her penchant for 'orchestral' registration which, particularly in repeats, is often the only source of interest. It would have been nice to have been able to recommend a single-disc selection of these works, albeit one using the modern flute and at present-day pitch (as with both Adorjan and Jurkovic) but, though the news is not all bad, in this instance I cannot with a clear conscience.'