W. F. BACH Sonatas: in e; in B♭, F 50; in D, F 48; in F; in a, F 49; in D, F 47 • Camerata Köln (period instruments) • cpo 777 086 (65:20) Broadcast: Cologne 10/12–14/2003

Relatively little chamber music by the eldest of Bach’s sons has come down us, and what there is mostly dates from early in his compositional career. That certainly applies to the three trio sonatas for two flutes and continuo (Falck 47–9) recorded here, written some time between about 1735 and 1740, and also the two recently discovered sonatas for flute and continuo, here receiving their first recording. This was the period during which Wilhelm Friedemann occupied his first post, that of organist at the Sophienkirche in Dresden. The Trio Sonata in B♭ for two violins (or violin and flute) and continuo is a later work, dated c. 1745 by Peter Wollny in the notes accompanying the present disc, but more vaguely “before 1762” by the revised New Grove.

Before continuing to discuss the music and performances, it has to be pointed out that something has gone seriously awry with cpo’s usually reliable editing. I hope that I can correct the errors, but not knowing the works primarily concerned, both of which are in D, cannot be absolutely certain. The second work listed (tracks 4–6) is not F 50, but, I believe, F 48, listed as the third work on the program, although movement timings do not tie up. To make matters still more complex, Wollny’s notes on F 48 appear to apply to F 47, and vice versa. Finally, the continuo part ascribed in the contents to lute in the E-Minor Flute Sonata is in fact played on the harpsichord. This is all a rare muddle that demands either a re-editing of the CD, or the booklet.

The three trio sonatas for two flutes provide a perfect illustration of the transitional place occupied by Bach’s music. F 48 for the most part occupies forward-looking expressive territory that would shortly become a feature of the music of his brother Emanuel, alternating the expected imitative interplay with unison thirds and sixths, while both the other works are firmly embedded in Baroque tradition. The unfinished A-Minor Sonata (it has only a single Allegro movement) is indeed based on a stern fugal subject that could easily have come from Friedemann’s father, while F 47 is a highly contrapuntal sonata in which rapid imitation between the two flutes and continuo pervades all three movements. While not works of major importance, all three sonatas contain enough individuality and craftsmanship to suggest a composer of unusual talent.

The two solo flute sonatas, both cast in three movements, are arguably more interesting. Both, and particularly the E-Minor, are technically demanding pieces that convey a real sense of idiomatic writing for the instrument, both as to agility (the range is considerable and includes wide leaps) and its expressive qualities. In the Sonata in E Minor, Bach also makes considerable expressive use of appoggiaturas and other ornaments, while the F-Major has a final Vivace that manages to introduce a few characteristic ambiguities into what is a predominantly playful movement. One is left wondering if these sonatas might have been written for Quantz, who Bach must have known in Dresden at the time they were composed.

The Trio Sonata for two violins is clearly a more mature work in which the highly contrapuntal writing is handled with exceptional skill, and the material between the two melody instruments includes not only imitation but also passages that allow solos for each player supported by a counter subject from the other. It is a fine work that calls for more eloquent playing than it receives in the expressive, rather wistful opening Largo. The succeeding quicker movements are more successful, although I found first violinist Sabine Lier’s tone somewhat raw. The flute works are all very well played, without perhaps achieving the highest distinction, making this, overall, a disc that is worth investigation, particularly if cpo sorts out the confusion noted above.

FANFARE: Brian Robins