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Strings & Basso Continuo in g Major Wq 169 h 445




Strings and Basso continuo in G major


für Flöte,

Streicher und Basso continuo G-dur

Wq 169 / H

David Lasocki

Edition for Flute and Piano Ausgabe für Flöte und Klavier by / von

Robert Paul Block

Score and Parts MR 1623B available for sale

Partitur und Stimmen MR 1623B käuflich lieferbar



Printed in Germant'

The flute music of Carl Philipp Emanuel Bach is perhaps the most important literature for the instrument written in the eighteenth century

The flute music of his father,

Johann Sebastian,

but it is not idiomatic in the way the son's is

The flute seems to have been especially suited to express Emanuel's "sensitive" s'tyle

lt is therefore surprising that some of lus flute music is still unpublished

The most notable omissions are full score editions of the two flute concertos in 13 major and G major (the concertos in A minor,

A major,

and D'minor are already available)

These two works are hereby published in full score for the frst time in these Musica Rara editions

I consider the G major concerto to be the greatest eighteenth-century flute concerto,

Wolfgang Amadeus Mozart notwithstanding

! The present edition has been made from the autograph score in the possession of the Staatsbibliothek der Stiftung Preussischer Kulturbesitz,

West Berlin (signature Mus

Bach P 769) under the title : No

/Concert für die Flöte,/bey/C

This score also serves for the organ concerto,

which is identical to the flute concerto,

except for some passages that are altered to fit the individuai instruments

' The flute partis notated at the top of the page in treble clef,

underneath are the orchestral instruments,

and at the bottom of the page is the organ part in soprano clef

Mostly the solo fine is given in the organ part only,

the flute fine being left blank to indicate that the instrument plays the identical part : the flute fine is notated only in the section where it differs from the organ fine

This method of notation creates an interesting situation with the ornaments

Bach uses mostly the general signs for a trill (tr or

but specific signs in the organ part

Thus when the flute and organ parts are identical,

the ornaments in question are those specific ones of the organ part

when the flute and organ have different passages at flic saure point,

the ornaments in the flute part are the general ones

There is therefore a mixture of general and specific ornaments in the flute part

For the present edition,

in cases where flute and organ have different passages and the organ fine has an ornament at the parallel position to one in the flute fine,

this ornament is reproduced above the flute line in square brackets

This helps to solve the problem of exactly what kind of ornament the flute should play in the cases where only the general signs are given : a number of places analogous to the above may be found,

and there the specific ornaments have been indicated within parentheses to show that they are editorial suggestions

Ail editorial suggestions are given in parentheses or by means of dotted lines

They extend to realizations of the lengtits of the varions appoggiaturas,

completions of the slurring in parallel places to those given in the text,

and additions of dynamics that are obviously missing

The following comments about the ornaments can be made

All appoggiaturas should be played for their noted length,

The ornament found,

in bar 52 is a short or half trill,

in bar 53 is a kind of turned trill

All cadential trills,

should have terminations (suffixes

see bar 1 1 in the orchestral parts or bar 137 in the flute part)

The ornament at the end of the cadenza for the first movement and the fermata for the last movement is an ascending trill : it begins on the note bélow the main note,

then moves to the main note and the note above,

and continues in the usual fashion

The Anschlag ornament of the second movement (bar 5 etc

) is notated in the manuscript as botte semiquavers and demisemiquavers,

but should always be performed in the same manner (see editorial suggestion at bar 5)

Cadenzas are needed for the first and second movements and a fermata for the third movement

There exists a manuscript of cadenzas by C

Bach in the band of his chief copyist Michel (Brussels Conservatoire,

Wq 120),

which includes a number of cadenzas for the very organ concerto,

Wq 34 (identified by the number 35,

thatis almost identical to the present flute concerto

There are three cadenzas for the first movement,

and there are two fermatas for the third movement,

These have been used as the cadenza for the first movement and fermata for the third movement in the present edition

There are two cadenzas for the second movement,

neither of which will fit the flute as written,

A difficult problem connected with the present concerto is whether the flute should play in the tutti sections (ritornelli) or only in the solo sections

The manuscript indicates that the flute line should have the tutti sections written into it,

but it is possible that this was merely to eue the performer

In the concertos of the baroque period the solo instrument did play in the tutti sections : in the concertos of the classic period it did not

There are a number of features of the prescrit concerto that lead me to believe that the flute was expected to play in the tutti sections

Generally the little custos (guidon) sign is used in the flute part at the beginning of each tutti section to indicate that the flute should double the first violin part,

and no further mark is then found in the flute line until the solo begins


in three places (first movement,

bars 18 and 63) the flute fine has a notation of a particular note in the first violin part followed by a few rests before the solo section begins

If the notation of the tutti sections in the flute part were intended to act merely as eues,

then it would be especially important to have such eues immediately before the solo section


in the first movement in bars 100,

and in the last movement in bar 184,

the flute does not pick up the tutti immediately alter the end of a solo section,

but has a few rests indicated If the flute did play in the tutti sections,

to transpose an octave higher those passages which went below its lower compass (d' was the lowest note in those days)

The modern player who wishes also to play in the tutti sections

In the present edition,

the tutti sections of the flute part have been enclosed within square brackets to show that they are to be performed at the soloist's discretion

It is not recommended that they be performed along with the piano reduction

The realization of the basso continuo and the piano reduction of the orchestral parts are by Dr Robert Paul Block

I should like to express my thanks to him,

Jacobi of the University of Zürich,

for help given during the preparation of this edition

David Lasocki Iowa City,

Wotquenne indicates that the organ concerto was composed at Berlin in 1755,

but omits a date and place for the flute concerto

For discussions of this question see Walter Lebermann,

"Zur Frage der Eliminierung des Soloparts aus den Tutti-Abschnitten ih der Partitur des Solokonzerts," Die Musikforschung XIV (1961),


"Das Soloinstrument im Tutti des Konzerts der zweiten Hälfte des 18

Jahrhunderts," Ibid

Concerto in G major (Wq

Strings and Basso Continuo Piano reduction by R

Carl Philipp Emanuel Bach (1714-1788) ed

David Lasocki

Allegro di molto Flute

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