Hyperion Records

Sonata in A major, BWV1032

'Bach: The Complete Flute Sonatas & the attributions' (CDD22077)
Bach: The Complete Flute Sonatas & the attributions
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Movement 1: Vivace
completion of first movement

Track 5 on CDD22077 CD1 [5'38] 2CDs Dyad (2 for the price of 1)
Movement 2: Largo e dolce
Track 6 on CDD22077 CD1 [3'25] 2CDs Dyad (2 for the price of 1)
Movement 3: Allegro
Track 7 on CDD22077 CD1 [4'22] 2CDs Dyad (2 for the price of 1)

Sonata in A major, BWV1032
Bach’s Sonata in A major for flute and obbligato harpsichord, BWV1032, survives in a Leipzig autograph dating from 1736. It is, however, incomplete since some forty-six concluding bars of the first movement were cut off from the manuscript—which also contains the Concerto in C minor for two harpsichords and strings (BWV1062)—and subsequently lost. Several editors have reconstructed the missing bars, including Alfred Dürr whose solution is contained in the Neue Bach-Ausgabe (VI, 3). For this performance, Lisa Beznosiuk has provided her own solution to the missing section. Her approach has been shaped by performance criteria rather than by purely musicological discipline, and has not been influenced by other ‘completions’ which she has neither studied nor ever played. Like the B minor Sonata, the piece is stylistically advanced and technically challenging. The opening ‘Vivace’ is introduced by an eight-bar harpsichord solo whose thematic idea becomes closely interrelated with the flute material later on. The second movement, marked ‘Largo e dolce’, is an evenly sustained piece of three-part writing, if perhaps a shade dry, in which the voices expressively imitate and dovetail into one another. The lively concluding ‘Allegro’ provides the focal point of the sonata. Introduced by the harpsichord, the theme is taken up by the flute and developed with radiant energy. The three parts maintain a level of equal importance, whose intense activity eventually leads the flute to a top E, the descent from which brings the movement to an exhilarating close.

from notes by Nicholas Anderson © 2002

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