Luogo e data di registrazione		Doopsgezinde Gemeente Kerk, Haarlem (Holland) - 27/30 gennaio 1988
	Registrazione: live / studio		studio
	Recording Supervision		Dr. Thomas Gallia | Paul Dery
	Engineer		Sonart, Milano
	Prima Edizione LP		Nessuna
	Edizione CD		Deutsche Harmonia Mundi (BMG) | LC 0761 | RD 77026 | 2 CDs - durata 50' 50" - 50' 33" | (p) 1989 | ADD
	Cover Art		-
	Note		Eine Coproduktion mit dem WDR Köln.

The Flute Sonatas of J. S. Bach In their entirety as well as individually J. S. Bach’s flute sonatas are greatly influenced by the concerto style; in parts they even completely drift into it. They all have three movements. The first movement of the flute sonata in A major (BWV 1032), which unfortunately has only survived in a mutilated form, is also in the concerto style, but naturally not so that piano and flute each have separate themes which they play against each other; here Bach simply accepts the general musical principle, as already shown in the sonata in E-flat major (BWV 1031). The fresh, vigorous final movement, this time the crowning glory of the whole piece, is on the other hand in three parts; the centre part falls once more into two sections: major (bars 53-118) and E major (bars 118-209), in each case the main theme being played with a new concept in masterly fashion; one can hardly imagine a more innovative, surprising way to return to a theme than can be found in bars 160-166. But the epitome of the three is the B minor sonata (BWV 1030). Its wonderfully free, beautiful form, its depth and exuberant sincerity raises it to the most excellent flute sonata of all. Thus the master set to Work and created one part from two converging ideas. They are not themes, but rather two melodies sung out as though beyond infinity; the first one moves through twenty full four-four bars in the most wonderful lines and is supported by a gently undulating accompaniment, the second follows on in the same key but then passes into D major. The process of evolution consists of this entire first part being in F# minor and then in conclusion being repeated but in B minor; only between the two latter sections there appears a piece from bars 61-77 in con¬ certo style created from parts of the first and second melody that the part does not appear in the same form three times; but nobody who has not seen or heard it can visualise how ingeniously Bach varied it. The second movement in D major, largo e dolce, simply divided in two parts with recapitulations, is in no way inferior to its predecessor; in particular the utterly bitter-sweet expression of the penultimate bar where the flute descends in slow syncopes through the diminished seventh chord could leave no-one unmoved. Through the last movement the composer seems to want to recover what he repressed in the first: a passionately beau¬ tiful trio fugue Swings along in presto. But it only seems so; a halt is soon called on the dominant chord and following the dictates of the concerto style an Italian gigue in 12/16 time floats over, quite new but yet familiär, as it has been developed from the fugue theme in the Buxtehude fashion. Thus the entire form apparatus of his own and previous times complies with the master’s Signal. Viewed as an incompletely structured art form, solo sonatas to the accompanying Cembalo were less to Bach’s taste. Of these only four are known of, besides one single fugue. One is for violin and cembalo set in E minor (BWV 1023): a splendid adagio follows a prelude in flowing and arpeggiating semiquavers, then allemande and Italian gigue - the older, Corellian pattem. The wonderful fugue in G minor (BWV 1026) is reserved for the same instruments; such compositions may have served as a preliminary stage to the fugues of the solo violin sonatas. The other three sonatas are for flute and piano. The one in C major (BWV 1033) also seems a bit older, the fourth and final movement forms a charming minuet pair, for the first one of which Bach himself completely wrote out the accompaniment. The others, in E minor (BWV 1034) and E major (BWV 1035), are in Standard form, but their allegro movements are mostly in two parts and there can be no question whatsoever of such a rieh unfolding of sound as in the sonatas with the obligatory Cem¬ balo. Without exception they are all abundantly beautiful and interesting. The trio for two instruments with figured hass is also only represented by very few examples. It has already been mentioned that the gamba sonata in G major (BWV 1039) was born out of such a flute trio. A sonata in the same key for flute, violin and bass (BWV 1038) recalls visions of jeweis in caskets, thanks to its clean, precise lines, pervaded by a sweet charm. Another sonata for two violins and bass in C major (BWV 1037) is not quite of the same Standard; a gigue serves as the last movement here. Otherwise the structures are regular. Text from Philipp Spitta, Johann Sebastian Bach, Leipzig 1873 Translation: Lynda Enders