Flute Sonatas in E minor and F Major
Von Wilhelm Friedemann Bach sind nur wenige kammermusikalische Werke erhalten. Umso willkommener ist daher die Entdeckung von zwei Querflötensonaten (jeweils dreisätzig in der Tempofolge schnell-langsam-schnell), die kürzlich unter den Anonyma der Staatsbibliothek zu Berlin identifiziert werden konnten. Trotz ihrer anonymen Überlieferung handelt es sich bei beiden Werken eindeutig um authentische Kompositionen W. F. Bachs, und zwar aus seiner Dresdner Zeit (1733-1746).
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Composer
Wilhelm Friedemann Bach
| -1784Wilhelm Friedemann Bach, the oldest son of Johann Sebastian, enjoyed the reputation of an outstanding, but at the same time one of the most independent-minded composers of his age. His work represents the ambitious attempt to absorb the legacy of his father and to develop the taste of his own generation further. Lofty artistic ambitions are to be found in almost all of W. F. Bach's works – from the early piano pieces via the cantatas of his middle period to the late sonatas and fantasias. Wilhelm Friedemann Bach wrote keyboard and chamber music, concertos and sacred cantatas. On a high level of technical ability he created a fascinating synthesis of baroque complexities and the emotionally charged galant style. While his instrumental works were written for the most part in Dresden (1733–1746) and Berlin (1774–1784) and are in the style of splendid courtly music, the vocal works date from his time as organist and director of music at the Marktkirche in Halle (1746–1764); they are distinguished by their expressive boldness and virtuosity. Personal details
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Editor
Peter Wollny
| 1961
Reviews
Wilhelm Friedemann Bach ;
Wilhelm Friedemann Bach: 2 Sonaten in e & F für Querflöte und Basso Continuo (BR WFB 17 & 18)
These too have no explicit attribution to WFB, but two movements are transcriptions of genuine WFB keyboard sonatas, probably made in Dresden in the early 1740s. The flute writing is quite virtuosic, with an accompaniment that is fully written-out. The facsimile page mentioned in the foreword is not present, but there seems no reason to doubt the accuracy of the edition.
Quelle: Early Music Review April 2003
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