- Bach – Sonata in E Major (BWV 1035)
The authorship of this sonata is still being debated by music historians – many of the sonatas initially attributed to JS Bach are now thought to be written (at least in majority) by CPE Bach. This is the Barenreiter edition follows the original articulation of the manuscript – leaving out “obvious” patterns that the Bachs (whichever composed this Sonata in E) expected the perform to intuitively know. As a result, careful listening and score analysis is essential for creating articulation patterns that closely follow the style of this piece.
- Peter Bacchus – Quartet for Diverse Flutes
As the title indicates, this is a Quartet for “diverse flutes” C flute, alto flute, and bass flute. An unusual feature of this score is that it places Flute IV (the bass flute) on line 3 rather than at the bottom. This is because Flute I and II are C flutes so keeping all the concert pitch instruments (the C flutes and bass flute) together and placing the only transposing flute, the alto flute, Flute III at the bottom to avoid confusion… even though it tends to create confusion when referring to the III and IV parts.
- Sergei Prokofiev – Sonata in D op. 94
This edition includes both the violin transcription along with the flute line – being aware that there are variations (and other editions of the piece) was really important when studying and listening to the piece before practicing. The infamous D7s are just one of the challenges this piece presents where the goal is for them to blend into the ascending arpeggio pattern.
- W.A. Mozart – Concerto in D Major for flute (K. 314)
Mozart has 2 concertos for flute – one in G Major and this one, in D Major (which is really just a re-voicing of the oboe concerto in C). This Barenreiter edition is great for analysis and understand the solo flute’s role – it includes the principal flute part, piano score, suggested cadenzas, and a reference score.
What’s on your stand this month?