Wilhelm Friedemann Bach: Flute concerto in D major

Wilhelm Friedemann Bach

Flute concerto in D major

Concerto per il Flauto traverso in D



With the first appearance of this three-movement concerto for flute, 2 violins, viola and basso continuo, Wilhelm Friedemann Bach’s only surviving flute concerto is made accessible to a wider musical audience. The transparent delicacy of the composition is visible in the orchestral movement. Almost continuously written in 3 parts the concerto clearly bears the individual artistic traits of the eldest of Bach’s sons. The critical edition is based on the only known source, from the library of the ‘Berliner Singakademie’, will be contained in volume IV/2 of the complete edition of Wilhelm Friedemann Bach’s works.


full score

40 pages, DIN A4, paperback
EUR25,00 / copies

vocal score, with one part

40 pages, DIN A4, paperback
EUR15,00 / copies

set of parts, complete orchestral parts

DIN A4, without cover
EUR84,00 / copies
  • consisting of
    4 x individual part, violin 1 (32.315/11)
    each: 5,40 €
    4 x individual part, violin 2 (32.315/12)
    each: 5,40 €
    3 x individual part, viola (32.315/13)
    each: 5,40 €
    4 x individual part, violoncello/double bass (32.315/14)
    each: 5,40 €
    1 x individual part, flute (32.315/21)
    each: 5,40 €
    1 x individual part, harpsichord (32.315/49)
    each: 12,50 €

Product information


Sergej Kudriachov Personal details
Peter Wollny Personal details


Wilhelm Friedemann Bach Personal details


Wilhelm Friedemann Bach: Concerto per il Flauto tTaverso in D BR WFB C 15

Three recordings of this concerto have reached us so far, the last (from Carus) proclaiming itself as the first (see p. 21). The work itself has appeared in various catalogues, but was not taken seriously since the source is anonymous, apart from a late, implausible ascription to Quantz. The Quantz thematic catalogue hives it off as QV 5: Anh.6; the W. F. Bach catalogue by Falck (1913) calls it spurious, a judgment with which Peter Wollny agreed in his 1993 Harvard thesis on WFB. There is some objective reason for the ascription: WFB's hand in the figuring of the continuo part was noticed two centuries ago. But study of the music (plus, a cynical observer might surmise, a desire to exploit the rediscovery of the Sing-Akademie library in Kiev) convinces Wollny, and probably the listener to any of the recordings, that the ascription is at least plausible, perhaps more. This edition is an extract from a future vol. IV / 2 of a projected complete edition of WFB, so editorial commentary is deferred to that. Assuming that parts are available, it is a valuable addition to the flautist's repertoire; the accompaniment is for strings and harpsichord.

Quelle: Early Music Review April 2003

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