Sonata in E Flat MAjor by J S Bach

The Sonata in E♭ major for flute and harpsichord, probably by J. S. Bach (BWV 1031), is a sonata in 3 movements: * Allegro moderato (in E♭ major) * Siciliano (in G minor) – unusually, this movement is in the mediant minor key (the relative minor of the dominant key) * Allegro (in E♭ major) The Bach scholar Robert Marshall has argued that the sonata was composed by J. S. Bach, since it was attributed to him by two independent sources, Bach’s son Carl Philipp Emanuel Bach in the manuscript copy of the work in his handwriting, and Christian Friedrich Penzel, Bach’s last pupil.The musicologist Jeanne Swack has suggested alternatively that BWV 1031 was “modelled” on a previous work for flute in E-flat by Johann Joachim Quantz (QV2:18 in the Augsbach catalog), which survives in a version for flute and obbligato harpsichord and in another version for flute, violin, and continuo. The similarities she cites are based primarily on structural and compositional considerations, as the musical themes are clearly different. However, Swack suggests either that Quantz composed both QV2:18 and BWV 1031, or that Bach (or another composer) used the Quantz original as a model for composing BWV 1031, which, she notes, is “much more complex and extensive.”. (en)

 This sonata is grouped in the Sonatas 1-3 out of the 6 sonatas written by Bach. These sonatas are contrapuntal in style meaning there is voice play between the parts and also in particular this one voice play also within the  parts as well. Whatever the story is about who wrote this sonata really doesn’t matter in the end , its the music that matters and it is a gorgeous sonata to play. One that demands substantial musical thought and insight.

The big considerations with the Allegro Moderato is which way will the performer lean tempo wise- to the Allegro or the moderato? How will the performer bring out the conversations? what ornamentation will be used? What articulations and approach to the movement will they take?

With the Siciliano  – How will the performer treat the dotted rhythm motive? Will they inegale the semi quavers? What tempo will they choose? Do they see this movement as a dance? or a lullaby? or neither?

Sonata in E Flat Major BWV 1031 1st Movement Allegro Moderato 

Sonata in E Flat Major BWV 1031  2nd Movement Siciliano

Sonata in E Flat Major BWV 1031  3rd Movement Allegro

This completes my performance of the E Flat Major Sonata. Wonderful movement and sonata.

There are a number of resources, excellent for guidance.

There is a chapter in here written by Stephen Preston which is very easy to read and comprehend for teachers and students.

There is also Quantz “On Playing the Flute” the go to for every flute player wanting to learn.

“The virtuoso flute player” by Tromlitz and for the very keen C.P.E Bach “The art of Keyboard”.

It is for every player to make up their own mind about what they think and feel and then put it into action. A wonderful few quotes from Stephen Preston “

• “ Its always about the music and feelings”  
• “ We are talking about music, we don’t actually play music by rules, not real music”
• “Rules, not so much a code as guidelines”
• “If I ornament something its got to be better”
• “How can tempo be separate from expression, something we feel”

This update is about some insights I might have to help students and teachers think about this movement and learning it.

Melodious Study- Moyse  No.24 was a game changer for me , for better or worse I see the skeleton in everything. If you look closely at No.24 it is the melody of No 2 but in the dominant minor key and just ornamented with passing notes.

The Allegro to me is the most gorgeous little dance in 3. Taken back to its skeleton in quavers makes it so easy to play beautifully in its raw state and also get a feel for what tempo one would like to play it. Looking at melodious studies No 2,3,19,8 will help with a 3 feel as the first beat is always the most important musical beat of the bar. Avoid accentuating the third beat which is very easy to do.

Once the skeleton is mastered then the semiquavers are just passing notes and fit in nicely once one has the melody dancing. 

I did a blog on Baroque performance with an interview with Stephen Preston and also some dance examples which are so helpful for me with interpretation. One has to remember that so much of all this music was written to dance to .

The other important aspect of this movement is the counter play of parts. Getting the score and listening to a recording of the work with it ,is really a must so the player can see what is going on musically and where the question and answer or musical conversation is happening.

The counter play with the trill sections are very tricky, both players need to have a clear idea of what they are doing trill wise. I love this little movement, like all Bach so much simplicity and complexity all at once.

The final difficulty of this movement is breathing in the first half. One needs to almost strap on an oxygen tank for the first few phrases .They are diificult breathing wise, the phrases are long and nowhere appropriate to breathe. I did a lot of pp Taffanel and Reichert scales, making sure I kept the speaking point at all times under control. This helps me get a lovely tone and not use too much air. Like all well made plans on the day pressure interfered and there were a few breaths that usually were not there, but that’s life, it doesnt always go to plan. I do recommend lots of soft playing in scale work for things like this though.

Here are my absolute three favourites for this movement. All different and all absolutely beautiful.

Jean-Piere Rampal

These are just my thoughts on the movement to help players and teachers maybe get an easier insight into a rather difficult little movement. Everyone has to make up their own mind and be convinced about what they are trying to say musically. In my teaching recently I have noticed a focus on playing the notes as fast as one can go with little attention to the quality of tone and end product. It is all about how fast can one go .Looking at music in a more in depth way can solve this because it becomes no longer about the individual and their ego but about the music and the feeling of the composer which should be at the fore front of everything we do. I think “placing every note like a fine crystal glass on the dining table” is a simple but powerful quote to live by. It affects everything.

I also think one has to consider the difference in performance on baroque flute and the Boehm system of today with piano. How this affects interpretation and make up ones mind on what to do performance wise.