Album insights
During the mid to late Baroque period, a significant change in woodwind instruments within families was the gradual disappearance of the recorder, making way for the emergence of the flute. Influential figures like Quantz in Germany and Hotteterre in France greatly influenced flute development. Composers such as Bach, Telemann, Blavet, and Leclair explored the technical and expressive possibilities of the flute through challenging and inventive repertoires. In the opera orchestras of that era, where instrumental developments were reflected, recorders gradually made way for flutes but were kept on reserve for special effects. Bach initially used recorders exclusively in his Weimar cantatas, introducing flutes only in his second year in Leipzig. After 1725, compositions specifically for the recorder became rare, with Handel's sonatas for recorder and bass instruments among the last significant works for the instrument.
Bach's Sonata in E Minor for flute and basso continuo, BWV1034, likely dates back to his early years in Leipzig. Despite the loss of Bach's manuscript, the earliest surviving material dates back to around 1726. This piece, possibly his first composed flute sonata, alludes to the older formal scheme of the Italian "Sonata da chiesa." The work is marked by a lyrical "Adagio ma non tanto," followed by an "Allegro" showcasing arpeggios preferred by Venetian violin-playing composers. The "Andante" features a continuous eighth-note bass accompaniment, reflecting a strong inclination towards Italian music. The final Allegro, rich with motifs, is divided into two parts, emphasizing technical virtuosity as the preceding movement does.
Bach's Sonata in A Major for flute and obbligato harpsichord, BWV1032, was preserved in a Leipzig manuscript from 1736. Although incomplete due to missing closing bars in the first movement, several editors, including Alfred Dürr, have provided reconstructions. Lisa Beznosiuk offered her solution for the missing section, focusing on performance criteria rather than musicological doctrine. Stylized and technically challenging like the Sonata in E Minor, this piece impresses with its structured movements, from the introductory "Allegro" to the expressive "Largo e dolce" and the lively final Allegro.
The Single lost manuscript from the 1720s preserves Bach's Solo pour la Flûte traversière, BWV1013. Composed around the time of Bach's move to Leipzig, this "Partita" is characterized by its expressive variability. The suite transitions through various dance forms, from the improvisatory Allemande to the more structured Sarabande, offering a delicate yet sophisticated glimpse into Bach's musical artistry.
Bach's Trio Sonata in G Major, BWV1039, attributed solely to him, reflects his versatility by providing material for his Sonata for Viola da Gamba and obbligato harpsichord in G Major (BWV1027). This Trio Sonata for two flutes and basso continuo, characterized by intricate fugues and engaging motifs, showcases Bach's contrapuntal expertise and compositional ingenuity. The trio's movements vary from a lyrical "Adagio" to a lively "Presto," displaying a rich musical mosaic.
The Sonata in B Minor, BWV1030, together with the Orchestral Suite in the same key, represents Bach's significant contribution to flute literature. Evolving possibly from an older G Minor version, the Sonata reveals Bach's meticulous contrapuntal structures and expressive diversity. From the opening movements' wealth of melodic elements to the robust Fugue and Gigue, this work stands out for its technical prowess and innovation.
Bach composed the Sonata in E Major for flute and basso continuo, BWV1035 in the latter part of his life during a visit to Berlin. The lively Allegro and expressive Siciliano highlight Bach's melodic craftsmanship, culminating in a spirited Allegro assai displaying playful thematic variations. The musical dialogue between flute and bass captivates listeners throughout.
Uncertainties surround Bach's Sonata in G Minor, BWV1020, regarding its authorship and instrumentation. Potentially composed in collaboration with C. Ph. E. Bach, the Sonata exhibits a departure from Bach’s typical style, resembling works of Berlin composers like Quantz. This composition, with its standout galant character and partnership of flute and harpsichord, remains stylistically distinct but artistically engaging.
Remained in a mid-1730s manuscript attributed to C. Ph. E. Bach, the Sonata in C Major for flute and basso continuo, BWV1033, carries an obscure origin but still delights audiences with its balanced structure, ranging from the stately Andante to the energetic Allegro. Bach's hand can be felt in the thoroughly developed instrumental parts, providing both technical challenges and expressive opportunities.
The contentious attribution of the Sonata in E Major for flute and obbligato harpsichord, BWV1031, possibly a collaborative effort, showcases Bach's craftsmanship and expressive beauty. From the charming "Allegro moderato" to the spirited "Allegro," this composition captivates with its melodic richness and dynamic interplay between instruments.
Nicholas Anderson © 2002 Original: Atlas Translations