Adagio Ma Non Tanto

Adagio ma non tanto is the first movement of the E Major Sonata
This movement to me is quite vocal in melodic line and I approach it as such. I use this movement to help players integrate the 24 Little Melodic Studies into their playing.
Bach’s flute sonatas are separated into two groups. The first three (B Minor, E- flat Major, and A Major) were written for flute and obligato harpsichord. In these three works, the upper voice of the keyboard part is equally as important as the flute and the bass line creating three-part counterpoint. The other set (which includes the C Major, E Minor, and E Major) is written for flute and basso continuo meaning Bach only wrote a bass line intended to be realized by the performer. The other difference between the two sets is in structure. The first three (BWV1030-1033) consist of three movements (fast- slow-fast) while the other set consists of sonatas with four movements.
It can be difficult to decide on how to play Baroque music on a Boehm system flute, so I tried to take it down to some basic principles and develop it out from there. Before anything though I don’t apologise for playing Baroque music on a Boehm system flute nor try to replicate a period instrument. I prefer to enjoy the advantages the modern flute gives us with tone and intonation and endeavour to do my best to let the music and the composer speak through.

Allegro

Bach’s flute sonatas are separated into two groups. The first three (B Minor, E- flat Major, and A Major) were written for flute and obligato harpsichord. In these three works, the upper voice of the keyboard part is equally as important as the flute and the bass line creating three-part counterpoint. The other set (which includes the C Major, E Minor, and E Major) is written for flute and basso continuo meaning Bach only wrote a bass line intended to be realized by the performer. The other difference between the two sets is in structure. The first three (BWV1030-1033) consist of three movements (fast- slow-fast) while the other set consists of sonatas with four movements.

It can be difficult to decide on how to play Baroque music on a Boehm system flute, so I tried to take it down to some basic principles and develop it out from there. Before anything though I don’t apologise for playing Baroque music on a Boehm system flute nor try to replicate a period instrument. I prefer to enjoy the advantages the modern flute gives us with tone and intonation and endeavour to do my best to let the music and the composer speak through.

The Allegro is an excellent movement to work through in skeleton form. Seeking out the basic harmonic structure and flow and then gradually adding to it like a painter would with brushstrokes to their painting until the finished work comes to life with all its beauty colour and expression.

Siciliano

The Siciliana or Siciliano is a musical form in a slow 6/8 or 12/8 time with lilting rhythms usually in a minor key. In this case the relative minor C#.

It is reputed to have originated in Sicily and rose to great significance and popularity during the Baroque era.

The 12/8-time signatures were the most popular, and the association with the dance and pastoral themes became almost universal. Siciliana were often played on instruments associated with pastoral themes, such as oboes, horns, flutes, and recorders.

Bach’s flute sonatas are separated into two groups. The first three (B Minor, E- flat Major, and A Major) were written for flute and obligato harpsichord. In these three works, the upper voice of the keyboard part is equally as important as the flute and the bass line creating three-part counterpoint. The other set (which includes the C Major, E Minor, and E Major) is written for flute and basso continuo meaning Bach only wrote a bass line intended to be realized by the performer. The other difference between the two sets is in structure. The first three (BWV1030-1033) consist of three movements (fast- slow-fast) while the other set consists of sonatas with four movements.

I have chosen the E major not only because it’s so beautiful, all the Bach sonatas are but because the Siciliano is probably the best way for me to demonstrate my thoughts on Baroque performance.

It can be difficult to decide on how to play Baroque music on a Boehm system flute so I tried to take it down to some basic principles and develop it out from there. Before anything though I don’t apologise for playing Baroque music on a Boehm system flute nor try to replicate a period instrument. I prefer to enjoy the advantages the modern flute gives us with tone and intonation and endeavour to do my best to let the music and the composer speak through.

The first point is to remember that many of the works were dances and as such keeping in mind body flow and dance steps is crucial to tempo choice and phrasing. A classic example of this is the Allegro from the C Major sonata. Although as many other works and movements it’s not marked as a dance, taken down to its skeleton form it is a beautiful little Menuett so although it’s an Allegro , it is also and elegant little dance. Keeping this in mind, skeleton work in Baroque music is paramount to finding out what’s really there in the music.

The second one is that I always put the music first and hopefully tasteful expression. This influences my performance choice for ornamentation. I avoid hiccups in phrasing which happens when a player clips an appoggiatura or such. This siciliano is a classic example of how clipped appoggiaturas would completely change the flow and elegance of the movement. I deliberately did not make the staccatos short for this reason as well.

After much reading and thought on the subject it really boils down to the player seeking out knowledge and then making an educated choice on performance and interpretation. I feel there is no point in trying to be correct if the “correct” and there is a lot of “fashion” out there with regard to Baroque music, doesn’t make musical sense to the player.

We are completing the Bach E Major Sonata with the Allegro assai. What can I say about this movement. It’s really difficult on many fronts for the player. Every note has to be exactly in the right place , the right quality, length and expression . The phrases have little statements within them often and the articulations are very precise. Every time I finish this movement, I say to myself ” wow, that was intense” without fail. The movement is like a mathematical equation but at the same time is the most wonderfully musical and expressive experience .I love it.

The best place to start this is with the skeleton because it’s in 3/4 so it’s a dance. Get the skeleton which in its simplest form is 3 crotchets in a bar beautiful with the sound and control, make sure the musical direction says something and dances, flows and then just add semiquavers slowly changing around what semi’s where you add until you have everything in place. Trills come last but practice them away from this in a warm up session or such , especially the low F# one.