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203
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OF MUSICOLOGY
most distinctive and remarkable works, and ranks them in the forefront of the flute literature of the time. Indeed, his eighteen sonatas
are among the most deftly crafted compositions for the instrument
during the eighteenth century.
Therefore, a study of the flute sonatas chronicles not only the
evolution of public fashion and Bach's personal style over half a century, but also bears on the role and status of the instrument during
this crucial period in its technical development. The present study
supplements recent work on Bach's compositions for keyboard, orchestra, and voice,2 with particular emphasis on the following areas:
1. Dating. Although Bach kept a careful record of his compositions, reflected in an estate catalog prepared by his widow, Johanna
Maria, and published two years after his death (the Nachlassverzeichnis,
hereafter NV),3 dates are lacking for several works listed therein.
Hypotheses on the dating of one of the flute/continuo sonatas also
shed light on the development of Bach's style and on the organizational principles of his catalog.
2. Attributionof questionableworks.The instrumental portions of the
NV have proven to be exceptionally accurate and complete.4 Therefore the reliability of attributions to Emanuel Bach for instrumental
works not listed in the NV must be seriously questioned. Nevertheless,
strong claims for C. P. E. Bach's authorship have been advanced with
regard to several sonatas not listed among his compositions in the NV,
including two flute/continuo sonatas attributed to "Bach and Schaffrath" and several sonatas previously attributed to J. S. Bach-the
sonata for flute and continuo in C major, BWV 1033, and two sonatas
with obbligato keyboard, BWV 1031 in E-flat and o10~0 in G minor,
none of which is included in the Neue Bach-Ausgabe. Robert Marshall has convincingly argued that the E-flat-major sonata and at least
the flute part of the C-major sonata were composed by Sebastian
(manuscripts of both sonatas were in C. P. E. Bach's possession and
are recorded in his estate catalog under category of works composed
by his father).5 It is superfluous to repeat all of Marshall's arguments
2 Most notably, works by Rachel Wade on the
keyboard concerti, Darrell Berg on
the keyboard sonatas, and Stephen Clark on the choral works. For a bibliography of
secondary literature on C. P. E. Bach, see Stephen L. Clark, "C. P. E. Bach in Literature: A Bibliography," in C. P. E. Bach Studies, ed. Stephen L. Clark (Oxford: Clarendon Press, 1988), pp. 315-35.
3 See Rachel W. Wade, ed., The
Catalog of Carl Philipp Emanuel Bach's Estate: A
Facsimile of the Edition by Schniebes,Hamburg, 1790 (New York and London: Garland,
1981).
4 More questions arise regarding the vocal compositions. For example, a number
of works partially composed by Bach may have been added to the catalog by Johanna
Maria. See Helm, ThematicCatalogue, p. xxi.
5 Robert Marshall, "J. S. Bach's Compositions for Solo Flute, Journal of the American MusicologicalSocietyXXXII/3 (Fall 1979). The NV listings for BWVio31 and 1033,
C. P. E.
BACH'S
FLUTE
SONATAS
here; suffice it to note that study of C. P. E. Bach's flute sonatas supports his hypothesis. There remains, then, the G-minor sonata, BWV
which even Marshall postulates to have been composed by
1020,
Emanuel Bach. Nevertheless, serious questions about the authorship
of this work persist, and the possibility that the sonata was composed
by J. S. Bach cannot be wholly discounted. Questions have also been
raised about the sonata's intended instrumentation, hypotheses about
which will be advanced below.
3. The historicalrelationshipbetweenthe continuosonata, the triosonata,
and the obbligatosonata. The present investigation supports hypotheses
that Bach's sonatas for flute and obbligato keyboard postdate trio
sonata versions of the same works,6 a development consistent with
historical trends in the late eighteenth century that favored an increasingly prominent role for the keyboard.
4. Evolution ofBach's compositionalstyle. Study of the flute sonatas
reveals chronological changes relating to the balance of the movements within the sonata; Bach's treatment of empfindsamcompositional elements; and the evolution of such "Classical" stereotypes as
balanced phrase structures and homophonic textures. Bach's compositional process is elucidated through an examination of the manner
in which rhetorical interjections interact with the structural basis of
the composition, and through a study of his reworking of several of
the sonatas either in the same or in a different medium.
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206
und btindige Melodie herrschen. Diese muB zugleich leicht und flieBend seyn.... Er
muB gleichsam selbst singen .... Hierauf folget ein geschwinder Satz. Dieser kann nun
wohl etwas fugenmiBig, oder nach der freyen Nachahmung eingerichtet werden....
Ein singender, neuer, deutlicher und angenehmer Satz wird also am geschicktesten zur
Haupterfindung seyn. Dieser wird hernach durch mancherley Verinderungen und
durch starke und weitliuftige Saitze fortgefiihret, doch muB die Haupterfindung tiberDen SchluB machet endlich ein geschwinder,
all auf das deutlichste hervorragen....
oder auf Menuettenart eingerichteter Satz, oder auch selbst eine Menuet, die hernach
verschiedenemale verindert wird.... Schwere und ausschweifende Gedanken miisWenn es eine Menuet mit Verinderungen ist: so
sen, so viel mtglich, gemieden....
mtissen die BaBnoten bey allen Ver~inderungen der Melodie durchaus unverrindert
bleiben. Die Verinderungen betreffen also nur die Oberstimme, und miissen allemal
die Starke des Instrumentes ... beweisen." Quantz also describes the solo as three
movements, slow-fast-fast, with the two fast movements contrasting in nature. See his
Versucheiner Anweisung die Flte traversierezu spielen (Berlin: Johann Friedrich Voss,
1752; reprint of the 1789 edition, Kassel and Basel: Bairenreiter, 1953), ch. 18, sections
46-50.
C. P. E. BACH'S
FLUTE
SONATAS
207
t0
TABLE
fl/cont
fl/cont
fl/cont
fl alone
Sonata
Date
Key
Mvt.
Alternate
Order Versions
Mvt. 1
Mvt.
Andante
Adagio
Allegro (
Allegro*
SFF
SFF
SFF
SFF
SFF
SFF
Adagio
Largo
Adagio
Andante
Adagio
Adagio
Allegro
Allegro
Allegro
Allegro
Allegro
Allegro
Largo
Andante
Poco adagio
Allegro (
Allegretto
Allegro (
fl/vn/cont
(H. 575)
fl/vn/bc
vn/keybd
2 fl/bc
(H. 580)
Allegro un
poco*
Allegro
(binary)
Allegretto*
Largo
1749
B,
FSF
maj FSF
E maj
FSF
(
(
(
(
(
(
Adagio m
troppo
Adagio d
TABLE
Scoring
Sonata
Date
Key
1 (cont.)
Mvt.
Alternate
Order Versions
Mvt. 1
FSF
Allegretto
(binary)
Andantin
fl/vln/bc
(H. 581)
2 vln/bc
Mvt.
(H. 583)
H. 509 (W. 86)
G maj
SFF
fl/vln/bc
(H. 586)
Andante
Allegretto
FSF
Allegretto
(binary)
Andantin
FSF
Allegretto
(binary)
[unlabelle
recitative
fl/bc
1755
*These movements are through-composed; the opening material recurs periodically in closel
modulating sections. In H5o5 and 506, the opening theme is treated imitatively at all recurre
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OF MUSICOLOGY
Table 1 reveals a striking trend among the soli: the final movements increase in speed from minuets in the two earliest works to
vivace in the sonatas of group 2, to allegro in those of group 3A. That
vivace represented to C. P. E. Bach a slower tempo than allegro is verified by several contemporaneous theoretical sources (e.g., Leopold
Mozart),12 as well as by strong internal evidence: the vivace movements are most often minuets (or in one case, a gavotte)l's and most
contain extensive passages of short notes. With rare exceptions, these
finales also become lengthier over time (thus assuming greater weight
in the sonata cycle), as well as increasingly virtuosic.
The obbligato sonatas show the reverse trend. The earliest works
(group 3B) are the longest and most difficult of Bach's sonatas in this
genre. The opening movements are particularly lengthy and feature
complex counterpoint and expansive Fortspinnung. In contrast, the
two sonatas from the 175os (group 4) are set in the flute's brightest
and most comfortable key and are notably less demanding (though no
less attractive) than the sonatas from the 1740s.
Thus in terms of technical brilliance, length, and seriousness of
expression, Bach's Frankfurt and Berlin sonatas form a type of arch,
reaching an apex in the late 174os with the last soli and the first
12
Mozart lists the fast tempi in the following order: Prestissimo (or Presto assai),
Presto (or Allegro assai), Molto Allegro, Allegro, Allegro ma non tanto (or allegro non
troppo, or allegro moderato), Allegretto, Vivace. He defines vivace as follows: "Vivace
heil3t lebhaft, und Spiritoso will sagen, dab man mit Verstand und Geist spielen solle,
und Animoso ist fast eben dieB. Alle drey Gattungen sind das Mittel zwischen dem
Geschwinden und Langsamen, welches uns das musikalische Stick, bey dem diese
Wirter stehen, selbst mehrers zeigen mu3." (Leopold Mozart, Versucheiner griindlichen
Violinschule[Vienna: Carl Stephenson, 1756], pp. 48-49). Alexander Malcolm lists the
tempi in ascending order as grave, adagio, largo, vivace, allegro, presto, prestissimo:
"Because the Italian Compositions are the Standard and Model of the better Kind of
modern Musick, I shall explain the Words by which they mark their Movements, and
which are generally used by all others in Imitation of them: They have 6 common
Distinctions of Time,expressed by these Words, grave, adagio, largo, vivace, allegro,presto,
and sometimes prestissimo.The first expresses the slowest Movement, and the rest gradually quicker; but indeed they leave it altogether to Practice to determine the precise
Quantity." Alexander Malcolm, A Treatiseof Musick (Edinburgh, 1721; reprint, New
York: Da Capo Press, 1970), p. 402. According to Rousseau, vivace defines the character of the work rather than its tempo (Rousseau, Dictionnairede musique,s. v. "Mouvement": "Chacun de ces degrds [largo, adagio, andante, allegro, presto] se subdivise et
se modifie encore en d'autres, dans lesquels il faut distinguer ceux qui n'indiquent que
le degrd de vitesse ou de lenteur, comme larghetto, andantino, allegretto, prestissimo;
et ceux qui marquent de plus le caractare et I'expression de l'air, comme agitato, vivace,
gustoso, con brio, etc."). The reader should be cautious about applying statements
by a particular writer to the music of a later period or of another geographical region,
as the use of a term such as vivace could vary from composer to composer. See,
for example, Charles Cudworth, "The Meaning of 'Vivace' in Eighteenth-Century
England" and Barry S. Brook, "Le Tempo dans l'ex6cution de la musique instrumentale Ala fin du XVIIIe sibcle: Les Contributions de C. Mason et William Crotch," Fontes
Artis Musicae XII (1965), 194-o201.
13 Minuet-type movements include H. 552, 553, and 554; the gavotte is H. 555.
C. P. E. BACH'S
FLUTE
SONATAS
obbligato works. Bach's interest in contrapuntal intricacy and virtuosity in the late 1740s may have been prompted not only by the tastes
of his royal employer, but also by the visit of his father to Potsdam and
Berlin in 1747, a visit that inspired the Musical Offering, whose trio
sonata is one of the most challenging works written for the baroque
flute.
It is likely that the earliest flute/continuo sonatas (group 1), along
with six trio sonatas for flute/violin/continuo that Bach composed in
1731 and 1735 (H. 567-72), encouraged Frederick to issue his initial
invitation for Emanuel to join the court in 1738. The increase in the
number of flute/continuo sonatas in the period immediately following
(group 2) is hardly surprising in view of this new position. Similarly,
the lacuna in the number of flute sonatas between 1740 and 1746 is
easily explainable by the less than ideal musical relationship that subsequently developed between the composer and the King, and the gap
between 1755 and 1766 is equally understandable in view of Frederick's military involvement in the Seven Years' War (1756-63).
More curious, however, is the reawakening of Bach's interest in
the flute in the late 1740s and early 1750s, during which time he not
only composed the three additional flute soli shown in group 3A, but
also revised his six early trio sonatas for flute, violin, and continuo;
wrote seven more trio sonatas using flute, five of which survive in
flute/obbligato keyboard versions (groups 3B and 4); '4 and composed
four flute concerti (1750-55), which also survive in versions for cello
and keyboard.'s5
One might argue that the rewriting of the six trio sonatas from
the 1730s was part of a systematic process of revision that Bach undertook during the mid 1740s. According to the NV (where the listings of many early works provide not only the dates of original composition but also the dates at which they were "erneuert") clavier soli
from 1731-38
revised in 1743-45,16
were
'4 The other two are: Trio in C major for "flute or clavier, violin, bass" (H. 504
and 573; 1745); and Trio in G major for flute/violin/bass (H. 574; 1747).
15 It is not possible to ascertain definitely the priority of the three alternative
versions of the concerti, but in some cases evidence suggests that the flute version may
be the earliest. In the A-major concerto, H. 437/438/439, for example, added measures
and ornamentation in the cello and keyboard versions suggest that the flute version
pre-dated them. Jane Stevens reaches the same conclusion in her forthcoming edition
of H. 437. On the other hand, for H. 444/445, the keyboard version appears to be the
earliest. Helm, Thematic Catalog, also lists a doubtful arrangement for flute of the
cembalo concerto H. 425 (H. 484.1).
'6 Two later concerti were revised after the 1740s: NV no. 5 in C minor was
written in 1739 and revised in 1762; and no. 22 in A minor was written in 1747 and
revised in Hamburg in 1775.
211
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OF MUSICOLOGY
C. P. E.
BACH
S FLUTE
SONATAS
for flute in the NV, as shown in Plate 1 (p. 50, no. 11), a
reproduction of the soli section from the copy of the catalog owned by
Johann Jakob Heinrich Westphal, a correspondent and avid admirer
of Bach who acquired a vast library of his music.21 Westphal has
altered the word "Fldte" to read "Viol di Gambe," probably in response to a letter he received from Bach's widow in December 1i791;
Johanna Maria Bach notes: "Das Solo No. 11 ist nicht fir die Flkte,
sondern for die Gambe gesetzt."'2 Surviving manuscripts of this sonata preserve only the gamba version, which, though notated in treble
clef, is unplayable on the flute because of its range and multiple stops.
There is no record of any flute version. As shown below, the apparent
error in the NV may have arisen from the close similarities between
this work and the flute sonata H. 561, for which it seems to have
served as a model.
Surviving manuscripts also suggest that other trii may have been
performed by flute and keyboard. H. 504 (1745), designated in the
NV for "Flate oder Clavier, Violine und Baf," is found in versions for
flute with keyboard and flute or violin with keyboard; and the trio
21
On Westphal, see Miriam Terry, "C. P. E. Bach and J. J. H. Westphal-a Clarification," Journal of the American Musicological Society XXII (1969), 106-15. See also
Helm, ThematicCatalogue, pp. xix-xx. Westphal's copy of the catalogue is in the Bibliothbque Royale Albert Ier in Brussels. Letters within each listing indicate the place of
composition: Frankfurt, Berlin, Hamburg, etc.
22
See Manfred Hermann Schmid, "Das Geschift mit dem NachlaI von C. Ph. E.
Bach. Neue Dokumente zur Westphal-Sammlung des Conservatoire Royal de Musique
und der Bibliothbque Royale de Belgique in Brtissel," in Carl Philipp Emanuel Bach und
die europtische Musikkulturdes Mittleren 18. Jahrhunderts,ed. Hans Joachim Marx (Gottingen: Vandenhoeck & Ruprecht, 1990o), pp. 496-97 (letter #8). Westphal's catalog of
his collection of C. P. E. Bach manuscripts also designates this work for gamba.
213
THE
PLATE
JOURNAL
OF
MUSICOLOGY
2 .~fflt,
1 3t6.
2 ~jolinen,
ten1,
'Prarfc~unb'Zag.
!5~.4
~. 737,
rf3S
5.
~O . 139,
bit
~i ~ll
aW it ~(.te
7.
5.
3? 739' r~rbkr~l6re.
111
eonotinen
juiarburt,, I itt wib
~Lonbitten
abe na4berto
gangPertbub
me(gbrbucfr,
-
Soil
214
anbere4nllrumtnte
f~W
afl bas~lfnkr.
~o. t, fiWtbit ~f~Qof.r
rn..9
SIn.. 2, firwbie aIate.
sonata H. 587-89 for two violins/continuo, viola/bass recorder/continuo, or bassoon/bass recorder/continuo survives in obbligato versions for violin or flute with keyboard (H. 543). In addition, H. 503
for "Clavier und Violine" is also found in an alternative trio sonata
version for flute/violin/bass (H. 596).23 Although the sources of these
arrangements are unknown, they confirm the commonplace practice
of arranging trio sonatas as obbligato works with a variety of instrumentation.24
23 H. 504: D-brd B, St 24o01 and St 240II. (This sonata has been recorded by the
author in the flute/obbligato keyboard version on a compact disc: C. P. E. Bach, Four
Sonatasfor Flute and Keyboard,Musical Heritage Society 513 258L) H. 543: D brd B, St.
244 and St. 253; US Wc M3x12.A2Bx3. H. 596: US Wc, M422.A2Bx3.
24 Other works surviving as both trio sonatas and obbligato sonatas include H.
507/585 (violin/keyboard or 2 violins/bass); and H. 542/570 (violin/keyboard or flute/
violin/bass).
C. P. E. BACH'S
9. 5.
-o.
SONATAS
1. (continued)
PLATE
FLUTE
3740,
fTirbit
,316te.
bruft.
iooionceg.
-~-,-;-
.,. o.
12.
ru bitr.4rfe.~2l~im
-L='---
- .T----
!fo.
19.
- %uartetn
f-6r-1un~
!aiir,-rt
~~o.rr.
'. 172. rGIbic1Z..l
'jsk.
215
lo.
14. 5Z.1747,
f?r bt
ite..
THE JOURNAL
216
OF MUSICOLOGY
this hypothesis is unfounded. Dillon vividly recounts his visit to Hamburg in 1783 (three years before the sonata was written), which he
considered one of the turning points in his career. He not only met
Bach and performed for him but also studied composition with him.
The autobiography is filled with encomia to Bach's genius, kindness,
and honesty.
Dillon describes in excruciating detail his day-to-day activities in
the critical year 1786; he visited Amsterdam, Leiden, Harlem, Rotterdam, and London, and then returned to Germany, but not to
Hamburg. In fact, the Hamburg sonata is not mentioned, a curious
omission if Bach had composed the sonata for him, particularly in
view of Dillon's admiration for Bach and the detail and pride with
which he relates his tours.
The Staats- und GelehrteZeitung des HamburgischenUnpartheyischen
Correspondenten(HUC) for 1786 discloses the name of only one flutist
who visited Hamburg in that year-a Christian Carl Hartmann from
Paris, who appeared in two concerts on Saturday, 17 June and Tuesday, 29 June. Originally from Altenburg,27 Hartmann lived in Paris
during the 1780s, during which time he apparently distinguished
himself as a brilliant artist. The HUC and the Hamburgisch-AddreJ3Comtoir-Nachrichten
introduced Hartmann to the Hamburg public as a
"famous virtuoso" and "a member of the Royal French Academy of
Music in Paris,"28 a statement echoed in the biographical sketches of
Gerber, Choron/Fayolle, and F6tis, but more recently challenged by
R.-Aloys Mooser in his study of music and musicians in eighteenthcentury Russia.29 Hartmann was apparently enthusiastically received,
since the HUC and the AddrefJ-Comtoir
announced on 28 and 29 June
that the subscription list for his second concert was full.so
27 See Ernst Gerber, Neues
Lexikonder Tonkiinstler(Leipzig:
Historisch-Biographisches
A. Kuhnel, 1812-14; reprint, ed. Othmar Wessely, Graz: Akademische Druck-u. Verlagsanstelt, 1966); and the Mercurede France, 21 Feb. 1784, p. 143, and 22 May 1784,
p. 192.
28 HUC Wednesday 14 June 1786;
Addref3-Comtoir12 June 1786, p. 358. The
notice in the Addref3-Comtoir
is datelined to June and merely informs readers that
Hartmann had arrived in Hamburg. The HUC article announces and describes Hartmann's concert of 17 June.
29 Ernst Ludwig Gerber, Historisch-Biographisches
Lexikonder Tonkiinstler(Leipzig:
Breitkopf, 1790o-92; reprint, Graz: Akademische Druck-u. Verlagsanstalt, 1977); Etienne Choron and Frangois Joseph Fayolle, Dictionnaire historiquedes musiciens (Paris:
Valade & Lenormant, 1810; reprint, Hildesheim and New York: Georg Olms, 1971);
Frangois-Joseph Fitis, Biographieuniverselledes musiciens(Paris, 1878-80; reprint, Brussels: Culture et civilisation, 1963); and R.-Aloys Mooser, Annales de la musique et des
musiciensen Russie au XVIIImesitcle (Geneva: Mont-Blanc, [1948-51]), II, 444After leaving Hamburg, Hartmann went to Russia, returning to Germany in
30
1788-90, at which time he had a rather unpleasant brush with the law (Musikalische
Real-Zeitung, 17 March 1790 and MusikalischeKorrespondenz,28 July 1790). I have not
C. P. E. BACH'S
FLUTE
SONATAS
been able to substantiate statements in several sources that he returned to Paris in the
1790s.
31On the tenor Hartmann, see Heinrich Miesner, Philipp Emanuel Bach in Hamburg (Leipzig: Dr. Martin Sidig, 1929; reprint, Wiesbaden: Breitkopf & Hirtel, 1969),
p. 19. Bach also possessed a portrait of Dillon, painted by Carstens (NV, 101: "Dillon
(Friedlieb [sic] Lud) ein blinder Fl6tenist. Gezeichnet von Karstens. 8. In schwarzen
Rahmen, unter Glas").
32 Miesner, ibid., pp. 121-22.
as"Sie ist ganz neu, leicht, kurz und beynahe ohne Adagio, weil dies Ding nicht
mehr Mode ist." See Ernst Suchalla, Briefe von Carl Philipp Emanuel Bach an Johann
GottlobImmanuelBreitkopfund Johann Nikolaus Forkel (Tutzing: Hans Schneider, 1985),
p. 191.
217
THE
JOURNAL
OF
MUSICOLOGY
The Sources
218
34 The opening melody of the Hamburg sonata also resembles the beginning of
the undated flute/continuo sonata, H. 548, although the harmonic rhythm has been
slowed considerably. Unless otherwise noted, all musical examples are transcribed by
the author using the Brussels copies for the flute/continuo sonatas and the autographs
(where one survives) or the most authoritative copy for the obbligato sonatas.
35 See Alfred Wotquenne, Catalogue de la bibliothlquedu ConservatoireRoyal de
Musique de Bruxelles (Brussels:
Coosemans,
There are similarities between this hand and that of An. 305, but enough
variants to preclude positive identification. I am grateful to Peter Wollny for pointing
out the possible relationship to An 30o5.
37 "Catalogue thimatique des oeuvres de Ch. Ph. Emm. Bach" (Bibliothbque
Royal Albert Ier, Manuscript Fitis 52r18). The title was probably written by Fdtis. See
Helm, ThematicCatalogue,p. xx, and Rachel Wade, The KeyboardConcertosof Carl Philipp
Emanuel Bach (Ann Arbor: UMI, 1981), pp. 9-12. Wotquenne's catalog is clearly based
on Westphal's. Wade describes all catalogs of Bach's music preceding the Helm catalog,
with their interrelationships shown in a clear diagram (Wade, ibid., ch. 2 and especially
p. io).
36
C. P. E.
BACH'S
FLUTE
SONATAS
EXAMPLE 1 a. "Hamburg sonata" (H. 564, 1786), end ofmvt. 1, linking "recitative" and beginning of rondo. Transcribed
from Bc 5517.
65
1.
112.
-I
II2
SFl.
.l
Cont.
6
4
..
l
675
*
2
]5
6 5
43
6_.....
Rondo
Presto
70
70
'II
7 65
6
.'
Das Rondo
fdilltein
219
other genres, was eventually purchased by F6tis for the Brussels Conservatory Library.
The ten sonatas in Bc 5517-all prepared by the same copyistapparently comprised a single unit in Westphal's collection;38 the inclusion of the Hamburg sonata among them dates these copies from
after 1786. That is, the nine pre-Hamburg sonatas in this manuscript
were apparently copied many years after they were written, possibly
even after Bach's death, as Westphal continued to acquire manuscripts from Bach's widow.
Why the B-flat major sonata H. 552-one of, but not the earliest of
the continuo sonatas-was copied in a different hand remains a mystery. One possibility, of course, is that the sonata was copied prior to
the others for a Hamburg performance (the copyist, Michel, was a
tenor in Bach's Hamburg choir). Yet if Bach were to have selected one
of his early flute sonatas for a Hamburg concert, H. 552 would certainly have been a curious choice. Not only is the work is one of the
38 The eleven flute/continuo sonatas appear in Westphal's catalog on f. 6v with
incipits on the facing page, each listing giving title, number of pages, and a code
possibly designating a cataloging system. The ten sonatas of Bc 5517 all bear the code
"hr"; H. 552 bears the code "d."
THE JOURNAL
lb.
EXAMPLE
OF MUSICOLOGY
Keyboard
hi
Largo
220
Po
Presto
Lr
-w~
EXAMPLE
Fl.
P
cont.
a
'
5e
I
'
'6
,i
'1
C. P. E.
EXAMPLE
id.
"Hamburg
sonata"
BACH'S
FLUTE
(H.
1786),
564,
SONATAS
mvt.
1, mm.
48-55.
Fl.
Cont.
55
52 5
r Fr
"
7
C C f
'r
, pl
'
44
ten.
54
-
7
S,,-567
least successful of the flute soli, but its last movement was also extensively revised in 1746 for use as the finale of H. 560.
A more likely explanation lies in this very revision process. Bach
often made emendations to his compositions by writing on empty
staves or by pasting pieces of paper over earlier versions. If the revisions to H. 552 were inserted on his only copy of this sonata, reconstruction of the earlier version might have been a complex task best
221
THE JOURNAL
EXAMPLE
le.
OF MUSICOLOGY
Keyboard sonata H. 209 (1766), mvt. 1, mm. 23-28.
26
222
" j
between
39 A copying error in the flute part of H. 552 (mm. 6-7) may have stemmed in
part from Michel inadvertently substituting the reading from the same measures in H.
560.
4o See Elias N. Kulukundis, "C. P. E. Bach in the Library of the Singakademie zu
Berlin," in C. P. E. Bach Studies,ed. Stephen L. Clark (Oxford: Clarendon Press, 1988),
pp. 164-65.
41 Friedrich Welter, "Die Musikbibliothek der Sing-Akademie zu Berlin," in SingAkademiezu Berlin, ed. Werner Bollert (Berlin: Rembrandt Verlag, 1966). See Kulukundis, "C. P. E. Bach in the Library of the Singakademie," p. 160.
42 Kulukundis, ibid., pp. 164-65.
C. P. E.
BACH'S
FLUTE
SONATAS
obbligato sonatas for flute or violin, Helm lists five in B-Bc 6354 (H. 504, 505, 509, 511,
and 515), six as missing from the same manuscript (H. 502, 503, 512, 513, 535, and
536), and one (H. 508) at the Bibliotheque Royale; three are not listed in Brussels
manuscripts
his catalog
several
sonatas were clearly missing from Bc 6354. At the present time, however, all except H.
508 are there. For additional manuscript sources of the obbligato sonatas see Helm,
ThematicCatalog.
44 Cecil Hill, editor of the Musica Rara edition of the flute/violin/bass version of
this sonata (1985), suggests that the flute and violin change parts where the first violin
line dips below the flute's range. Hill was clearly unaware of the existence of the
autograph and other manuscript copies. (The editor also omitted the figures from the
bass line, surmising that they were not Bach's, and has distinguished between a dot and
a vertical dash above a note, postulating that the latter is a "stress mark." Bach, however, explicitly equates the two markings: "Die Noten, welche gestossen werden sollen,
werden sowohl durch daruiber gesetzte Strichelgen als auch durch Punckte bezeichnet
Tab. VI Fig. 1. Wir haben dismahl die letztere Art gewahlet, weil bey der erstern leicht
eine Zweydeutigkeit wegen der Ziffern hitte vorgehen konnen." Versuch, part 1, p.
125.)
45
223
THE
OF
JOURNAL
2. C.P.E.
PLATE
MUSICOLOGY
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C. P. E.
FLUTE
BACH'S
SONATAS
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THE JOURNAL
EXAMPLE
OF MUSICOLOGY
159
6?
F1.2
163
je)
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226
EXAMPLE
159
F
LFl0 -: '
Keybd.
163
E-
',i
--
.-
(.
C. P. E. BACH'S
FLUTE
SONATAS
47
227
THE JOURNAL
OF MUSICOLOGY
228
While the NV supplies reliable dates of composition for most of the works listed therein (the catalog is clearly based on
records kept by Bach himself, judging from remarks contained
therein and from correlations between its numbering system and that
on many of Bach's manuscripts),48 two sonatas in the soli section of the
catalog are undated: an oboe sonata and the flute/continuo sonata H.
548, both of which are listed at the beginning of the section (see Plate
1 above). The position of the undated works in the NV led Helm to
conclude that H. 548 predates the other flute solos and that it therefore "probably [stems from] 1735 or earlier." Helm's hypothesis is
certainly the most obvious interpretation of the NV. At the same time,
however, there are compelling reasons to assign H. 548 to the period
1738-40 (as in Table 1 above) because of a number of striking similarities with other sonatas of this period, including the following:
1. The tempo of the third movement. The fact that all of the last
movements from the group 2 sonatas are labelled vivace, while the two
earlier works end with minuets and the later three Berlin soli conclude
with allegros is too much of a coincidence to be dismissed as accidental. It appears to reflect, instead, a conscious alteration in Bach's conception of the nature of the last movement and its relationship to the
sonata cycle as a whole.
2. The amount of contrapuntal interplay betweenflute and bass in the
second movement. The sonatas of group 2 (particularly the allegro
movements) contain far more imitative interplay between flute and
bass than those of either the earlier or the later continuo sonatas. The
strong emphasis on counterpoint in the middle movement of H. 548
(Example 3a) links it especially strongly to H. 553 (1738; Example 3b)
and to H. 554, a fugue.
3. Theform of the third movement.Whereas the finales from Bach's
two early flute/continuo sonatas are both in theme and variation form
(see Table 1), H. 548 reflects the tendency toward binary form that
first appears in the works from 1738-40. Harmonically, the last
movement of H. 548 is far more sophisticated than those of the preBerlin flute solos.
4. Theform of the opening slow movement.The first movement of H.
548 exhibits the same structure as four of the other five sonatas from
1738-40:49 three sections, the first modulating to a closely related key
48 See Rachel Wade, The Catalog of Carl Philipp Emanuel Bach's Estate, p. vii; and
Darrell Berg, "Towards a Catalogue of the Keyboard Sonatas of C. P. E. Bach," Journal
of the AmericanMusicological SocietyXXXII (1979), 276-303.
49 The exception, H. 552, differs from the others in having no developmental
section.
C. P. E. BACH'S
FLUTE
SONATAS
EXAMPLE3a. Sonata for flute/continuo in G major, H. 548 (undated), mvt. 2, beginning. Transcribed from Bc 5517.
Allegro
fr
Fl.
Cont.
4 3
55
229
6__
67
77
765
66
Fl.
Cont.
THE JOURNAL
OF MUSICOLOGY
Attributionof QuestionableWorks
230
with full cadences, as in J. S. Bach's E-minor flute/continuo sonata. The fast movements
of H. 548 also resemble those of the other sonatas in group 2 in several details, including an abbreviated recapitulation in movement 2, and an extended development followed by a shortened recapitulation in movement 3.
5' See G. Kinsky, Musik-Sammlungaus dem NachlasseDr. Erich Prieger-Bonn, nebst
einigen Beitrigen aus anderemBesitz. III. Teil. Musikerbriefe,Handschriften,Musikalien (Cologne: Lempertz, 1924); Schmid, Carl Philipp Emanuel Bach und seine Kammermusik,pp.
go and 176; and Rachel Wade, "Newly Found Works of C. P. E. Bach," Early Music
XVI/4 (1988), 523-32.
52 The "e" in place of "6" in "Fletraversier" may derive from the orthographic
practice of notating the umlaut as a small "e" above the letter it affects.
5s Schaffrath, who was five years older than Bach, entered Frederick's service in
1735, and later served as cembalist to the King's sister, Princess Amalia. He died in
1763. See Ernst Stilz, Die BerlinerKlaviersonatazur Zeit Friedrichsdes Grossen(Saarbrticher
Druckerei, 1930), pp. 23ff., and Christoph Schaffrath, Concertoin B-flatfor Cembaloand
Strings, ed. Karyl Louwenaar (Madison, WI: A-R Editions, 1977), preface.
C. P. E. BACH'S
FLUTE
SONATAS
thematic material is decidedly banal. Needless to say, empfindsamelements are totally lacking.
The rudimentary nature of the two sonatas implies that they are
early works, if indeed Bach took any part at all in their composition.
On the other hand, the implication of joint authorship with Schaffrath might suggest some type of composition game, possibly like the
"Sinfonie mit dem Fiirsten von Lobkowitz, einen Takt um den
andern, aus dem Stegreif verfertigt."s4 That Bach was not above such
light-hearted musical recreation is shown by his "Einfall, einen doppelten Contrapunct in der Octave von 6 Tacten zu machen, ohne die
Regeln davon zu wissen."ss
While the movement structure of the first sonata resembles that
of Emanuel Bach's two early flute/continuo works (three movements-slow-fast-minuet), the four-movement form of the second sonata (Largo-Allegro-Adagio-Presto) is found only rarely in C. P. E.
Bach's oeuvre.56Curiously, the opening Largo of this second sonata is
in B minor, while the other three movements are in D major, suggesting that the two slow movements may have accidentally been interchanged.
Among the three sonatas variously attributed to J. S. or C. P. E.
Bach, BWV 1o2o in G minor is the most troublesome. The three surviving manuscripts of this work-a mid-eighteenth-century copy attributed to "Sige Bach," a late eighteenth-century copy attributed to
C. P. E. Bach, and a nineteenth-century copy ascribed to J. S. Bachleave no doubt about the instrumentation: all specify violin. The sonata's attribution to the flute in numerous modern editions is based
on its range, which never descends below d'. It is, in fact, very curious
that a violin sonata in G minor should so assiduously avoid the use of
the G string. It is tempting to speculate that the surviving manuscripts
reflect a flute transcription of the work even though the original title
was preserved. A passage such as that in Example 4 supports such a
hypothesis. Here the sequential progression in the violin established
in measures 42-43 would logically continue in measure 44 with the
soloist's last note an octave lower-a note below the range of the flute.
Is it possible that the phrase in brackets originally read an octave
lower and was at some point raised to accommodate the flute in the
same way that Bach indicated octave transpositions for the flutist in H.
508 (Plate 2 above)?
231
THE JOURNAL
EXAMPLE 4.
OF MUSICOLOGY
J. S. or C. P. E. Bach,
42
Vin.
Keybd.
45
232
48
ii
ir1
fry
C. P. E.
BACH'S
FLUTE
SONATAS
in the Breitkopf catalog may not be as significant as first meets the eye,
for Bach himself noted that Breitkopf at times attributed works to
him erroneously.58
The possibility that the sonata is an early work59 overlooked later
by Emanuel when preparing the catalog is difficult to support in light
of the published attribution to him in 1763. In fact, Bach lists in the
NV several sonatas stemming from his earliest years, suggesting that
his habit of careful record-keeping dated back to his youth. Furthermore, the style of this sonata is very different from that of Emanuel
Bach's early works.
Nor can we seriously entertain the possibility that Emanuel deliberately wished to disown this sonata. While scholars have at times
faulted portions of the work for compositional weaknesses and while
it might not reach the heights of J.S. Bach's most monumental
sonatas, the G-minor sonata is nevertheless an elegant and wellconstructed composition, resembling in many respects the E-flatmajor sonata, BWV 1031, that Robert Marshall has convincingly argued was composed by Sebastian.6o
Ernst Schmid, who until recently had studied Emanuel Bach's
chamber music more thoroughly than any other scholar, questions
the attribution of the G-minor sonata to C. P. E. Bach on purely stylistic grounds.6' While such hypotheses must clearly be treated with
extreme caution (as Marshall notes, "style criticism is a notoriously
unreliable tool for the resolution of authenticity questions"),62 the
views of a scholar as meticulous and cautious as Schmid certainly
deserve our attention.
Furthermore, the difficulty of drawing positive distinctions
among the similar hands of contemporaneous copyists63 suggests the
58 "Die geschriebenen Sachen, die Breitkopf von mir verkauft, sind theils nicht
von mir, wenigstens sind sie alt und falsch geschrieben." Letter from Bach to Forkel, 26
August 1774. See Suchalla, Briefe von Carl Philipp Emanuel Bach an Johann GottlobImmanuelBreitkopfundJohann Nikolaus Forkel,p. 240. Also quoted in Carl Hermann Bitter,
Carl Philipp Emanuel und Wilhelm FriedemannBach und deren Briider (Berlin: Wilhelm
Miller, 1868; reprint, Leipzig and Kassel: Birenreiter, 1973), part 1, pp. 337-38.
Breitkopf also attributed to J. S. Bach a concerto by C. P. E. Bach; see Wade, Keyboard
Concertos,pp. 35-36.
59 Robert Marshall, "J. S. Bach's Compositions for Solo Flute," p. 473.
6o The similarities between the E-flat-major and G-minor sonatas have been noted
by a number of Bach scholars; see, for example, Hans Eppstein, Studien iiberJ. S. Bachs
Sonatenfiir ein Melodieinstrumentund obligatesCembalo(Stockholm: Almquist & Wiksells,
1966), pp. 176ff.
61 Schmid, Carl Philipp Emanuel Bach und seine Kammermusik,pp. 120-21.
62 Robert L. Marshall, The Music of Johann SebastianBach: The Sources,the Style,the
Significance (New York: Schirmer Books, 1989), p. 5763 Douglas Lee, for example, recently argued that a manuscript he originally
thought to be an autograph of Nichelmann is in fact an autograph of Emanuel Bach
(Lee, "C. P. E. Bach and the Free Fantasia for Keyboard: Deutsche Staatsbibliothek
Mus. Ms. Nichelmann IN," in C. P. E. Bach Studies, ed. Stephen L. Clark, pp. 177-84).
233
THE JOURNAL
OF MUSICOLOGY
234
Since the chronological distance between the earliest and latest of Bach's flute sonatas is greater than half a century, it
is hardly surprising to find evidence of major stylistic changes among
them. One of the most revealing developments, however, is the alteration in Bach's treatment of the harmonic, rhythmic, melodic, and
textural surprises so characteristic of his empfindsamerStil. In the early
works, his typical parenthetical asides shock and even, at times, disrupt the coherence of the work, as in H. 550 (the earliest dated sonata), where a short excursion to the minor dominant (Example
5a,
mm. 5ff.) is broken by a startling half-diminished seventh chord (m.
6, at X). In a parallel passage at the end of the movement (Example
5b), the half-diminished chord (at Y) is intensified by octave displacement (Z), an increasingly common device in Bach's works, and then
expanded by repetitions of the following triplet figuration. The halfdiminished chord in the flute's high octave is so startling that a later
hand softened the effect by adding a flat in the manuscript to the
flute's high e (at Z), an unjustified emendation in view of the bass line,
the harmonic parallelism with measure 6, and the notational practices
of this manuscript.65
Much more successful are the works from 1737-40, such as H.
554, where parenthetical asides in all three movements serve as interpolations within an otherwise logical structure. In the first movement, for example, Bach interrupts a galant opening gesture by a
Private correspondence 1/15/92.
The placement of the natural sign in m. 18, beat 4 is ambiguous in the manuscript. At first glance it appears to affect the f', thus implying the retention of the e"-flat
introduced on beat 1. However, comparison with the parallel passage in m. 6, where
there is an explicit natural but no upper auxiliary, suggests that it should affect the e".
No accidental accompanies the high-octave trill in m. 19. The modern edition of the
work (ed. K. Walther, Hortus Musicus, vol. 71, Kassel: Btirenreiter, 1968) further
obfuscates this passage by suggesting an E-flat/F-natural trill at Y, but E-natural/Fsharp at Z!
64
65
C. P. E.
FLUTE
BACH'S
SONATAS
Cont.
6
6
5
9
2
'-3
rI
-7
6
6--
I
6
5
II
4
4+
b.X
3
X7
235
THE JOURNAL
OF MUSICOLOGY
Fl.
FI.
236
6
6)
6
5
77
6
5
4_
C. P. E. BACH'S
6. Sonata of flute/continuo
EXAMPLE
FLUTE
SONATAS
6~
. . ,r
S6
irn,''
4 3
2..-Jb
6
6+46
4
"
,,,,,,;,,,,,,,,,-
6
4
57
6
4 11
237
THE JOURNAL
EXAMPLE
OF MUSICOLOGY
75
cost
"
Cont.
'
4
2
,h
8o
77
78
7$
86
238
7
I? I
5I
iI
2
4
1
6
92
66
56
16
5
"6
3
of H. 509, movement
2 (1755;
C. P. E.
BACH'S
FLUTE
SONATAS
Fl.f
..
o
'
';;3
"'3
1I
6C
6C
54
3r
f
7
1
6+
7
239
OF MUSICOLOGY
THE JOURNAL
EXAMPLE
Allegretto
3
lal
II
Keybd.
-I
-'
240
"
Lf
'1 ,. 'L.
, o,,rrre'
6),
17
Fl.
Keybd.
6,
21
I f
'
C. P. E. BACH
S FLUTE
SONATAS
EXAMPLE8. (continued)
c. Mvt. 2, mm. 56-59.
56
Fl.
eop
Keybd.
d. Mvt.
67
2,
mm. 67-75.
t,
Fl.
241
Keybd.
70
tr
p
74
74
f
THE JOURNAL
242
OF MUSICOLOGY
Of all the flute sonatas, H. 552 is most problematic for the instrument. Not only is it set in a poor key-its many cross-fingered notes
lending a darker, softer quality to the sound-but its low tessitura and
long articulated passages in the low octave (particularly in the second
movement) invite balance problems with the keyboard.
Bach must have recognized the non-idiomatic character of this
work, for it was the first flute/continuo sonata he chose to revise. He
did not, however, reject the earlier work out of hand. If so, we would
presumably find in the NV only one B-flat-major sonata, designated,
as in so many similar cases, by a composition date of 1738 and a
revision date of 1746. Instead, both sonatas are listed without reference to any relationship between them. In fact, however, the last
movement of H. 560 is clearly a revision (and improvement, from the
viewpoint of the flutist) of the finale of H. 552. The melodic motives,
harmonies, and form of the finale of H. 560 are closely modelled on
H. 552, but the tessitura of the later work is decidedly higher and the
entire movement is at once more virtuosic and yet more idiomatic to
the instrument. Furthermore, Bach modified the irregular phrase
structure of H. 552 by omitting parenthetical insertions from the
exposition and recapitulation sections, while intensifying the development by inserting an elaborate extension.
In H. 561, the middle movement is clearly based on the second
movement of H. 556, although the revisions here are far more extensive than those Bach undertook for the last movement of the
B-flat-major sonata. Bach retained from the earlier work only the
opening and concluding measures of each half, rewriting the central
core. A Baroque Fortspinnungextension of the opening theme of H.
556 is replaced by a Lombard figure in H. 561, the galant affect of
which is supported by the change in tempo from allegro to allegretto.
Bach retained the earlier movement's structure, however, including a
lovely diversion to the minor dominant at the beginning of the second
theme.
The last movement of H. 561 draws on the humorous character
of the finale of H. 556,70 but is directly indebted to the gamba sonata,
H. 558, for its opening motive. The beginnings of all three finales
(Example ga) feature Bach's proverbial humor: short opening statements are punctuated by silence. The two-measure opening gesture
of H. 556 is condensed to a similar one-measure figure in H. 558
whose rhythm is then sharpened to a dotted figure in H. 561.
In H. 556, the humor of the opening motive is intensified at the
end of the first reprise by an augmented sixth chord which seemingly
70 This short movement represents the single exception to the lengthening trend
of the finales.
EXAMPLE
Fl.
S3
H.556
6
I
"
H. 558
Cont.
Fl.
cS
H. 561
6
4
2
5
3
6
5
t\)
IA
IA
EXAMPLE 9. (continued)
F.
[ - ,
!rII l
'
bI
.1"
H. 556R.
Cont.
:.
Con.
Gamba
,
?I ii
"
I
J ";:
l"
H.558
H.
558
Cont.
S7
4_529_54
76
+6
- Ii'
FI.
H.
561
H.561
I
EIfI.
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I I
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Centt
S26
5h
4
7-66
.
'
C. P. E. BACH'S
13
SONATAS
EXAMPLE
Fl
FLUTE
ww3
245
startles the entire ensemble into silence (Example 9b, H. 556, measure
16). This bold gesture is replaced by long notes functioning as a
written-out ritard in H. 558, and then transformed into an expectant
fermata in H. 561 (Example 9b).
The striking similarity between the openings of H. 558 and H.
561 (Example ga) leaves no doubt that the finale of the 1747 flute
sonata was a reworking of the gamba sonata. It also suggests a plausible explanation of the NV's erroneous designation of H. 558 for
flute-a hasty glance at the manuscript of H. 558 may have led the
compiler of the NV to conclude that Bach had revised an earlier
sonata in the same medium, as was so frequently his practice.y'
As one would expect, Classical stylistic traits appear with increasing frequency in the late Berlin works. In H. 515 (1766), for example,
the four-bar phrase is strongly prominent, harmonic surprises and
parenthetical insertions are lacking, and the proclivity toward parallel
thirds and sixths give rise to a decidedly galant effect (Example lo).
71 The gamba sonata was probably composed for Ludwig Christian Hesse, son of
the famous Ernst Christian. A virtuoso in his own right, L. C. Hesse entered Frederick's
service in 1741.
THE JOURNAL
EXAMPLE 11.
OF MUSICOLOGY
"Hamburg
Cont. "
" i
..
6
"
65
246
6
4
7
5
11).
The fashionable finale, whose rondo structure is outlined in Table 2 below, reaches a structural crescendo in the center, as the intermediary sections B, C, and D become progressively longer and
TABLE
Structure
Meas.:
Sections:
1-8
9-16
A'
17-35
36-43
44-64
65-72
C*
D**
(dev. w/theme
A' in C major
and E minor)
modulatory
(development)
Keys:
mod.
to D
g to B-flat to
half cad in g
No. mm.:
19
21
73-125
53
126-33
t\o
THE JOURNAL
EXAMPLE
12.
OF MUSICOLOGY
"Hamburg
28
Fl.
P
Contt
5t
33
Pp
tasto
248
16
4 35
tasto
Summary
In his earliest sonatas for flute, Emanuel Bach was
at once indebted to the style of his father72 and audacious in his
harmonic syntax and structural phraseology. His Frankfurt flute compositions may well have provided the stimulus for his invitation to the
court of crown prince Frederick in 1738, leading to a thirty-year
association that was to bring Bach stability, but at the same time confine him to a stifling environment of artistic autocracy. In his first
years at the court, Bach composed five (or possibly six) flute/continuo
sonatas, two of which served as models for later works in the same
genre.
72 There are striking similarities, for example, between his E-minor sonata of
and the E-minor and B-minor sonatas of J. S. Bach.
1737
C. P. E. BACH'S
FLUTE
SONATAS
Though Bach then abandoned the flute for several years, he returned to composing for the instrument in 1745, seemingly with new
fervor, revising six trio sonatas from 1731-35, and composing two
more flute/continuo sonatas, the unaccompanied sonata, four concerti, and seven trio sonatas, five of which have alternative flute/
obbligato keyboard versions.
The compositions of the late 174os, Bach's most difficult works
for the instrument, may well reflect renewed approbation for his
works at the court, and certainly suggest that technically virtuosic flute
compositions were in demand in Berlin at the time. Stylistically, the
works of the 174os and 5os reflect a trend away from the continuo
sonata to the more balanced texture of the obbligato sonata; the bold
harmonic experiments of the earlier works are moderated, the dramatic parenthetical asides more integrated into the overall texture.
The final Berlin sonata (H. 515, 1766) confirms Bach's preference for
the flute/obbligato keyboard style; it is the only work in this genre to
have no alternative trio sonata version.
After leaving Berlin, Bach composed only one other solo sonatathe flamboyant, popular Hamburg flute sonata. (Given the evidence
from Diulon's autobiography, the common assumption that Bach
wrote this sonata for the blind flutist must now be discarded.) With its
highly abbreviated slow movement, its emphasis on virtuosity, and the
bright humor of its finale, the Hamburg sonata shows close affinity to
the keyboard sonata H. 209 and was clearly designed to please the
public's palate.
Study of the eighteen sonatas for flute listed in the Nachlassverzeichnis sheds doubt upon Emanuel Bach's role in the composition of
several other works sometimes attributed to him, including two sonatas for flute and continuo by "Bach and Schaffrath" and the flute
sonatas BWV 1031 and 1033 omitted from the Neue Bach-Ausgabe.
Similar questions arise regarding BWV1o2o, which, however, may
have been composed by C. P. E. under J. S. Bach's direction.
Although Bach's empfindsam experiments become increasingly
subordinated to a concern for continuity, his predilection for the
fantasia, which at once unites the freedom of improvisation with the
coherence of structure, remains characteristic of even his most Classical compositions. His final masterpiece is clearly Haydnesque; yet its
most wonderful moments-the eloquent climax of the first movement's development, the short recitative, the humorous hesitations in
the rondo-aptly illustrate Emanuel's reputation for inspired improvisation.
Universityof California, Santa Cruz
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