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363:. In measures 50 and 71, the main theme appears again, the second time in the tonic key (A minor), thus creating the unity needed in the rounded-binary form. In measure 81, there is another one cadence that is similar to the one of the measure 30, increasing the musical tension, while the last cadence, in measure 93, is the biggest of the others (but still brief), needing one flutist's breath. As so, having a dominant position, it delays the dissolution further.
216:, which plenty of them exist in his work, in a combination of all the styles of this period (French, German and Italian). Also, in this particular sonata, Bach used the silence technique, leaving twice an entire measure without notes (Movement 1, measure 91, and movement 3, measure 93), so, as there is no accompanying instruments, in these two measures, there is complete silence. This sonata is an early prototype of this change.
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394:, suggesting dancing, the reality is that the entering movement is in fact a dancing movement. Nearly in the measure 40, the harmony moves to C major. Two more occasions that the music sounds like it is many voices, while it is only one, is at measures 57–61 and 104–108. In measure 76, a cadence starts, but on the same measure and until measure 84, there is a part with notes under
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Some scholars claim that this sonata was intended for the king. Indeed, it was printed during the king's lifetime. But at the time, compositions written for the
Prussian king were not permitted to be published and made public. It may have been published without the king's knowledge. This may explain
239:(Allemande, Corrente, Sarabande, Bouree anglaise), are that in the sonata, there is nearly no indication of dance (except the second movement), and its three movements (Poco adagio, Allegro, Allegro) do not follow the standard format of
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to unify his work, as his father did. Examples are the "scalar arch" motif in the first measures, repeated in fragments in the whole sonata, and the descending half-step motif, which appears at the beginning of every movement.
155:, one of the most significant works for unaccompanied flute before the 20th century. It is the sole flute work by Bach that was printed and published during his lifetime. No manuscript of it has been discovered.
398:, which seems identical to the style of the first movement, employing the same "half-step" motif. In the same place, there is exemplified one of the unifying motifs found in the sonata. A little later, quick
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The opening theme of the movement, which contains a part of the opening movement of the first movement, reminds the listener of a rocket rising, again using motivic development (particularly
435:). The harmony moves to E minor in measure 52. There is high tension in the movement until measures 91–93, where a two-measure C major arpeggio stops suddenly, followed by a measure-wide
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449:. The final section of the work starts at measure 102, a cadence appears at measures 136–137, returning to the original tempo. The movement ends with an appropriately bold passage.
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The time this sonata was written, was a time that Bach, because of his position as an harpsichordist of the King, was surrounded by many well-established musicians, like
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appear, changing the scheme. This leads, in measures 85–93, to a half-cadence filled with sixteenth-notes. The movement closes with a variation of the main theme.
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In measures 25–30 and 80–85, Bach made the melody sound like three different voices, an impressive achievement of the composer. In the measure 30, he added a
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The second movement is seen by some as developing several mid-century elements about
Allegro movements. With a seasoning of wide leaps and swift
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199:, the king's personal flute teacher and one of his many composers. Influenced by them, Bach's style changed: besides signs of his father's
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171:. The king was also a flutist, and had many composers write flute compositions for him. Bach devoted several compositions to the
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in the
Allegro movements, broken chords, thirds and frequent rests, all of them a mix of Baroque and Galant style.
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The movement starts with a scalar theme, which itself expresses sadness. Inside it, there are some "half-step"
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Today, for various practical reasons, there are also editions that add an accompaniment, for example a piano.
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Music for a Mixed Taste: Style, Genre, and
Meaning in Telemann's Instrumental Works
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than elsewhere in the work. However, it also deploys the most technical features.
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The biggest difference with his father's only work for unaccompanied flute, the
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the publication date of 1763, nearly two decades after the sonata was written.
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The melodic line seems more angular than soft, as it is clear from the use of
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599:"The solo flute sonata of C.P.E. Bach: a fresh look at an old masterpiece"
477:"Carl Philipp Emanuel Bach / Sonata for flute in A minor, H. 562, Wq. 132"
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movement. In measures 95–101, there is a longer scalic motif full of
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The final movement is faster and more difficult than the other two.
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Bach wrote this sonata in Berlin around 1747, when he was a chamber
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540:"Bach, Carl Philipp Emanuel – Flute Sonata in A minor Wq 132"
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Flute Sonata in A minor, H.562 (Bach, Carl
Philipp Emanuel)
439:. After that, the theme suddenly seems like a Baroque-era
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The movement has the slowest harmonic line and less
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147:. The sonata is considered, along with Telemann's
332:, which represent tear, and it begins with some
267:unifies the work. The first movement is slow (
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383:, some think it is again closer to some of
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864:Compositions by Carl Philipp Emanuel Bach
748:Sonata in A minor for Solo Flute, Wq. 132
628:International Music Score Library Project
355:develops, while in the next measure, the
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143:or accompanying instruments, composed by
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205:style, he included features of the new
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113:3 (Poco adagio, Allegro, Allegro)
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728:Notebook for Anna Magdalena Bach
51:The first movement of the sonata
18:Sonata in A minor for Solo Flute
597:Abeln, Melissa Colign (2004).
503:Zohn, Steven (27 March 2008).
1:
298:All movements are written in
271:), and the second is faster (
306:First movement (Poco adagio)
699:Die Israeliten in der Wüste
321:The first movement, marked
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665:Carl Philipp Emanuel Bach
367:Second movement (Allegro)
145:Carl Philipp Emanuel Bach
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39:Carl Philipp Emanuel Bach
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406:Third movement (Allegro)
149:Fantasias for Solo Flute
874:Compositions in A minor
511:Oxford University Press
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716:Gellert Odes and Songs
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609:: 8 – via Gale.
263:movement format. The
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197:Johann Joachim Quantz
121:Sonata for Solo Flute
32:Sonata for Solo Flute
674:List of compositions
259:The sonata uses the
300:rounded-binary form
280:motivic development
169:Frederick the Great
343:in a diminished F
229:Partita in A minor
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131:.132, H 562, is a
879:1747 compositions
869:Solo flute pieces
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603:Flutist Quarterly
520:978-0-19-803796-5
387:'s compositions.
151:and J. S. Bach's
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776:(1998–2018)
768:(1982–1995)
690:La Caroline
392:eighth note
381:modulations
323:Poco adagio
269:Poco adagio
186:Description
858:Categories
722:Magnificat
453:References
433:retrograde
429:diminution
139:, without
400:arpeggios
294:Movements
255:Structure
237:movements
214:ornaments
110:Movements
102:Published
67:Catalogue
811:Category
757:Editions
734:Passions
482:AllMusic
442:corrente
411:Meter: /
385:J.S.Bach
372:Meter: /
87:Composed
784:Related
549:10 July
488:10 July
396:legatos
361:E minor
357:harmony
353:D minor
349:C major
341:cadence
273:Allegro
202:Baroque
159:History
125:A minor
92: (
61:A minor
834:Portal
517:
330:motifs
243:, but
208:galant
133:sonata
821:Audio
681:Works
345:chord
334:slurs
312:Meter
265:tempo
233:suite
210:style
191:Style
137:flute
90:~1747
79:H 562
551:2019
515:ISBN
490:2019
437:rest
431:and
135:for
119:The
105:1763
94:1747
76:.132
314:: /
167:of
123:in
57:Key
37:by
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129:Wq
127:,
74:Wq
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20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
