Werk: Flötensonate Es-Dur, BWV1031

The Chaconne was the highlight of the evening, given the fluidity it wants by Tatiana Daubek, as if the walls in the house of time had grown soft.

The more you read about music, the more you notice the word “authenticity” cropping up annoyingly frequently. The great raging musical arguments of the late 20th century still burn; performers, listeners, even composers find themselves having to take up quasi-moralistic stances on gut strings, vibrato, and whether trills should begin on the upper or lower note.