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J S Bach - Sonata in E Minor, BWV 1034

Katie Riley, Flute Ming-Li Liu, Piano Werner Recital Hall October 14th, 2019 Recorded by Brandenburgh Productions Though there is much speculation revolving around when Bach’s Flute Sonatas were composed, Johann Sebastian Bach’s Flute Sonata in E Minor was considered to be written during Bach’s Cothen period (1717-23). The work follows the form of a sonata de chiesa (church sonata), meaning the four movements follow a slow-fast-slow-fast pattern. Each movement opens with a simple melody that develops throughout the duration of the movement. This compositional technique, deemed fortspinnung or “spinning forth”, is a key characteristic of composition in the baroque period. The melody develops throughout the movement through sequences, intervallic variances, repetitions, and changes in dynamics. The first movement of Bach’s Flute Sonata in E Minor is a prevalent example of fortspinnung. The Adagio ma non tanto that begins Bach’s Flute Sonata in E Minor is characterized by a solemn and expressive character. This atmosphere is generated by driving gestures of harmonic and rhythmic development. It begins with ascending 8th notes in the basso continuo and the melody enters on the flute with 16th notes. This movement is very slow, but the driving rhythmic nature keeps the music propelling. Harmonically, the movement is built off descending and ascending thirds. The following Allegro movement shifts the character immediately. The music goes from being sorrowful and mournful to playful and mischievous. Much like the first movement, a motive is presented early in the music. This motive is characterized by an 8th note followed by two 16th notes culminating with four 8th notes of larger intervals. This motive is presented multiple times throughout the piece in different tonalities. Though the piece is predominately in E minor, the character is not seen as solemn. The mood of this piece is created through the lightness and flair of the rhythm. The Andante is a special movement, as it presents the ideology of hope and optimism in the music. Written in G major, this movement greatly contrasts the other three. The enchanting third movement differs from the very beginning. All other movements begin with the continuo starting and the flute entering after an 8th note rest. In this movement, the continuo has a 6-bar introduction before the flute begins singing its tune. The third movement features two mini cadenzas in the flute line that separate sections of music. When we reach the final Allegro, the music returns to the familiar structure. The flute enters after the 8th note rest with a dancelike motive characterized by two 16th notes followed by two 8th notes that lead us to an ascending 16th note scale. The movement seems to be based from this motive, particularly the two 16th notes leading in to the two 8th notes. However, after the first cadential point, a contrasting melody appears that interweaves between the continuo and flute line. This melody further enhances the dancelike quality of the fourth movement with the bouncing 8th notes and descending 16th note line. Bach soon reminds the listener of the original motive as we move to the following section that contains a lot of the same material. The piece concludes with a coda leading to a final E minor chord.