Johann Wilhelm Wilms knew his way around the flute very well. Helen Dabringhaus has already demonstrated this impressively with her splendid rediscovery of the urbane virtuoso in the wake of Mozart and Haydn - an important expansion of the classical flute repertoire.
Now the flautist, who is eager to make discoveries, is following up with another set of his chamber music together with her longtime piano partner Sebastian Berakdar and cellist Hannah Vinzens, including Wilms' single trio, which attracts attention with its remarkable instrumental treatment.
Although the main task undoubtedly falls to the piano, the parts of the flute and especially the cello go far beyond what was usual at this time. Instead of simply concealing the weaknesses in the bass and treble of the pianos in use around 1800 by doubling the lines, both instruments make a significant contribution to the musical events - almost visionary, and a trailblazer for the emerging Romantic period.
