Of Carl Philipp Emanuel Bach’s flute concertos, the one in d minor is by far the best known, even though its authenticity has been repeatedly doubted. A version of the same concerto for harpsichord and orchestra is “genuine C.P.E.” and this has always been regarded as the original version. An in-depth study of all source findings does, however, suggest that Bach composed the flute version first. Our editor, the flautist András Adorján, is thus able to present a musical text in which many transmission errors have been eliminated. The edition is rounded off by a preface from the C.P.E. Bach specialist Wolfram Enßlin.
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Of Carl Philipp Emanuel Bach’s (1714 – 88) six extant flute concertos, the Concerto in d minor presented in this edition is undoubtedly the best-known. All six were written in Berlin and Potsdam between 1744 and 1755, hence during Bach’s employment at the court of Prussia’s King Friedrich II (cf. Verzeichnis des musikalischen Nachlasses des verstorbenen … more
About the composer
Carl Philipp Emanuel Bach
He is primarily famous for his music for keyboard instruments and is regarded as the most important composer of sonatas (approximately 150) in the mid eighteenth century. His self-image as a composer is in line with the aesthetic of the genius. His musical idiom is characterized by a “speaking” disposition and by moments of surprise.
|1714||Born in Weimar on March 8; second surviving son from Johann Sebastian Bach’s first marriage. Musical education from his father; attends the Lutheran Latin school in Köthen, the St. Thomas School in Leipzig. Participates in the Collegium Musicum.|
|1731||Law studies in Leipzig.|
|1734–38||Continuation of law studies in Frankfurt an der Oder. Occasional compositions.|
|1740–68||Harpsichordist in Berlin at the court of Frederick II.|
|1741||Symphony in G major (Wq 173), his first.|
|1742–44||“Prussian” and “Württemberg” Sonatas.|
|1753||Treatise: “Essay on the True Art of Playing Keyboard Instruments” (First part; second part in 1762)|
|1758||Publication of “Professor Gellert’s Sacred Odes and Songs” (Second collection in 1764)|
|1760||Publication of “Six Sonatas for Keyboard with Varied Reprises.”|
|1768||He succeeds Telemann as music director and cantor at the Johanneum Latin school in Hamburg. Composes liturgical music (cantatas) as well as instrumental works (symphonies, concerti, chamber music), large vocal works (Passion settings and oratorios), and occasional compositions for the city’s musical establishment. Organizes “Bach’s Private Concerts.”|
|1775||Oratorio “Die Israeliten in der Wüste” (“The Israelites in the Desert”).|
|1779–87||Publication of “Clavier Sonatas and Free Fantasies along with Divers Rondos […] for Experts and Amateurs.”|
|1788||Dies in Hamburg on December 14.|
About the authors
Bei der Redaktion des Notentextes wurden von András Adorján alle Quellen berücksichtigt, sodass jetzt ein einwandfreier Notentext in einer hervorragenden Notengrafik vorliegt. Für alle, die sich mit diesem Konzert beschäftigen, gibt es zu dieser Neuausgabe derzeit keine Alternative.
Magnifique édition d'un élément majeur du répertoire de la flûte
Édité en version Urtext par András Adorján, préfacé par Wolfram Enßlin, avec une réduction de piano de Jan Philip Schulze, le concerto publié selon la manière habituelle la plus soignée possible des éditions Henle est le Concerto en ré mineur H 484.I (Wq 22)
Henle`s piano reduction (arrangers please note, here and throughout) is most ingenious in preserving the finale`s repeated semiquavers.