J.S. Bach: Sonata in b for Flute & Harpsichord, Andante (Matejová, Kwon)

Johann Sebastian Bach (1685-1750)Sonate in b-minor for traverso and obbligato harpsichord, BWV 1030
I. Andante

Dorota Matejová, traverso
Christina Kwon, harpsichord

Perhaps the most beloved Baroque composer of all times, Johann Sebastian Bach (1685-1750), is not only known for his prolificacy in musical output but also in siring physical offspring. Of the many musical talents he bore, Carl Philipp Emanuel Bach (1714-1788) was one notable, transitioning from his father’s high Baroque musical style into his own empfindsamer Stil, preceeding the Sturm und Drang in the late 18th-century Germany. Carl Philipp, known among his contemporaries as the Emanuel Bach, was a prolific composer for the traverso flute, one of his notable connections being with Frederick the Great of Prussia, who was a traverso player himself. Carl’s flute sonatas, considered golden flute repertoire of the 18th century, carry extremely beautiful melodies and allow space for virtuosity and musicality of the flautist.

The perfect counterpoint and architecture of J.S. Bach’s b-minor sonata for flute and obbligato harpsichord show that it is a trio sonata format of the flute line and the right hand of the obbligato harpsichord being interactive musical equals built on top of a bass line. This absolutely iconic piece for the traverso and harpsichord is one of the most (if not the most) technically and musically challenging flute pieces from the 18th century.
Contrary to his father’s archetype of rigid perfection in counterpoint and structured instrumentation, Carl Philipp takes a more inward-looking personal stance into his traverso sonata with basso continuo. He gives a more melodic, horizontal execution of the basso continuo, rather in contrast to the thick full-voiced execution of harmony seen in the second movement of his father’s sonata.