Classical Music | Music for Flute

Johann Sebastian Bach

Sonata for Flute in e minor, BWV 1034 (Andante and Allegro)  Play

Kimberly McCoul Risinger Flute
David Feurzeig Piano

Recorded on 03/19/2003, uploaded on 03/11/2009

Musician's or Publisher's Notes

Sonata in E minor for Flute and Basso Continuo, BWV 1034     Johann Sebastian Bach

Like the E Major Sonata that follows, the Sonata in E minor for Flute and Basso Continuo is dedicated to flutist Michael Gabriel Fredersdorff, an employee of Frederick the Great who was also an accomplished flute player. However, the manuscript with this dedication was not prepared by Bach himself. Furthermore, there exists an early copy of the sonata without any indication of a dedication. It is possible, then, that either the dedication was not made by Bach, or he merely revived an older work for Fredersdorff’s use, appending a dedication as a formality.

Regardless, the Sonata is written with a basso continuo accompaniment in place of an obbligato keyboard part.  Typically, the basso continuo is performed by a harpsichord and another instrument capable of sustaining the bass line, in most cases a string instrument such as a cello or viola da gamba, but a bassoon is not uncommon.

The sonata is constructed in the Baroque sonata di chiesa (“church sonata”) format, that is, a slow-fast-slow-fast order of movements. Though marked Adagio, the first movement, with its consistent duple coupling of sixteenth-notes, has a persistent forward momentum though with a touch of sorrow. The following Allegro begins with lilting melody in the flute set over a descending bass line. Following this, the flute indulges in rapid figurations while the bass takes up parts of the melody. The Andante third movement begins with a six measure introduction for the continuo. In G major, the calming opening measures lead to a tender melody in the flute. The continuo departs little from its simple bass line, leaving the flute free to sing its enchanting song. The Allegro last movement is energetic and dark. Soloist and continuo engage in imitations and full-fledged counterpoint throughout the movement. Finally, the movement comes to a flashy close with a final statement of the melody.    Joseph DuBose