Unjustly known essentially for his fantastic treatise on playing flute, an unescapable item for giving a close look into baroque performance, J.J.Quantz was an highly talented composer who worked check by jowl with some of the greatest composers of Baroque era, being a part of the musician’s team at the Court of Dresden (composers such as Pisendel, Heinichen, Zelenka, Veracini and also ‘our’ Weiss, among many other, were working there at the same time!).
He was, undoubtedly, one of the most influential flute player/composer of all times, in such degree that all his music is devoted basically to this instrument. In that time, it was quite usual to write collection of single pieces and let to the player the task to couple them with the goal to perform them as a dypthic (or tryptic or even as a larger suite). I chose for this publication two pieces, originally written for flute solo, which seem to me to stay perfectly together for a concert performance: the first a freer and delicate Capriccio and the second a straightforward Fantasia in the rhythm of an Italian Gigue. The basses I added have the goal of supporting an already very clear harmonic context and make the sonority more fitting for a guitar performance.
Capriccio and Fantasia by J.J.Quantz