The original complete collection of Bach's works, the
Bach-Gesellschaft edition, appeared in Leipzig in 46
volumes between 1851 and 1899. It was the first
"complete works" edition to publish a composer's
notation without deliberate editorial tampering, to
include almost every composition, and to provide a
critical apparatus, serving as a model for virtually
every critical edition since that day. Vol. IX, with a
preface dated April 1860 signed by the editor, Wilhelm
Rust, contained three sonatas ...(+)
The original complete collection of Bach's works, the
Bach-Gesellschaft edition, appeared in Leipzig in 46
volumes between 1851 and 1899. It was the first
"complete works" edition to publish a composer's
notation without deliberate editorial tampering, to
include almost every composition, and to provide a
critical apparatus, serving as a model for virtually
every critical edition since that day. Vol. IX, with a
preface dated April 1860 signed by the editor, Wilhelm
Rust, contained three sonatas for flute and
keyboard.
Although most of the flute sonatas by Johann Sebastian
Bach pose questions of authenticity, the B minor sonata
BWV 1030 is undoubtedly his own work. Of the eight
existing sources of the sonata, there is a manuscript
with his own signature, which leaves little room for
doubt. However, there is also copy of a harpsichord
part in the key of G minor which dates earlier than the
signed manuscript. This raises the issue of chronology.
Popular theory suggests that Bach composed most of his
chamber works while he was director of Collegium
Musicum (a group of musicians dedicated to the art of
performance) in Leipzig from 1729-1737. Thus, it is
most likely that the G minor version was composed in
his first few years as director and transcribed it to B
minor around 1736.
Of his flute sonatas, the B minor is one of two (the
other being BWV 1032) in which the harpsichord part is
fully composed. This differs from the past style of
continuo, which left the keyboard player plenty of room
for his/her own ornamentation. Given this, the
harpsichordist acts as an equal partner to the solo
flute and shares the melodic material.
The first movement, marked Andante, is the most
distinctive. Its free ritornello (short recurring
passages) form make for stimulating interplay between
the flute and harpsichord. Another slow movement
follows (Largo e dolce) and encompasses two beautifully
simple themes, which serve as a release from the
complexity of the first movement. The third movement
(Presto--Allegro) is in two parts, beginning with a
fugal presto that leads straight into a gigue-like
section which is most notable for its witty
syncopations and technical demands.
The B minor sonata is the greatest and most difficult
of Bach's flute works. Its historical significance,
technical demands and timeless beauty, bring it to the
forefront of his compositions and takes the rightful
place as a staple in the solo flute literature.
Although originally written for Soprano Recorder
(Flute) and Harpsichord in B Minor, I created this
arrangement in A Minor for Soprano Saxophone & Acoustic
Piano at the request of a Doctoral candidate (DMA).
