The four Bach flute sonatas presented in this volume offer a genuine variety both in style and transmission. The first two are thoroughbass sonatas conceived for flute, string bass and harpsichord. Th...
It is now possible to add the epithet'previously' to the formulation of these sonatas as 'attributed to Bach' in the title of our Urtext edition; today it is assumed that none of the three sonatas was...
The enormously beloved and often performed Trio Sonata BWV 1039, which Bach also arranged for gamba and harpsichord, is, next to the Trio Sonata from the Musical Offering, the only trio sonata by J. S...
Bach had a predilection for creating solo works for instruments that were more usually supplied with a keyboard accompaniment. It is thus only logical that, as well as the violin and cello, he also th...
These three separately transmitted sonatas hide some attribution problems. BWV 1020 (the Sonata in g minor) is quite possibly by Bach's son Carl Philipp Emanuel, and today is mostly played on the flut...
Bach's E major Violin Concerto has survived solely in the form of a copy, but in view of its significant compositional substance, and of Bach's arrangement (which has come down to us as an autograph)...
For the editor of an Urtext edition, Bach's A minor violin concerto BWV 1041 presents few problems; cleanly-written original parts exist from Bach's Köthen (or early Leipzig) period. But beyond the gu...
Faksimile der vier Quellen im Beiband zum Kritischen Bericht Neue Bach-Ausgabe. Serie VI, Band 2.
Bach's Trio Sonata for flute, violin and basso continuo from the Musical Offering is probably the pre-eminent trio sonata in music history. When Bach met King Frederick the Great in Potsdam in 1747, t...
As Court Music Director in Cöthen, Johann Sebastian Bach devoted himself primarily to instrumental music. Among the works written there were his Sonatas for violin and obbligato harpsichord BWV 1014-1...
