c p e Bach - Concerto for Flute, Strings & Basso Continuo in g Major Wq 169 h 445 - b&h

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CARL PHILIPP EMANUEL BACH

Concerto

for Flute, Strings and Basso continuo

in G major

Konzert

für Flöte, Streicher und Basso continuo

G-dur

Wq 169 / H. 445

editcd by / herausgegeben von

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

BREITKOPF & HÄRTEL

WIESBADEN • LEIPZIG • PARIS

MUSICA RARA

MR 1623A

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the son's is . The flute seems to have been especially suited to express Emanuel's "sensitive" style. lt is therefore surprising that some of lus flute music is still unpublished .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. ms. autogr. Bach P 769) under the title : No. 35/G d ./Concert für die Flöte,/bey/C.P.E. Bach. This score also serves for the organ concerto, Wq 34, 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 -1 ) in the flute part, 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 ; whereas, 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, unless otherwise indicated . The ornament found, for example, in bar 52 is a short or half trill, and that found, for example, in bar 53 is a kind of turned trill . All cadential trills, whether full or half 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. P. E. Bach in the band of his chief copyist Michel (Brussels Conservatoire, littera V . 5871 ; Wq 120), which includes a number of cadenzas for the very organ concerto, Wq 34 (identified by the number 35, found on our title page, as mentioned above), thatis almost identical to the present flute concerto . There are three cadenzas for the first movement, one of which (No. 25 in the manuscript) fits the flute intact, and there are two fermatas for the third movement, one of which (No. 11) also fits the flute without any alteration. 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, but one of them (No. 10) has been modified slightly (to eliminate the chords and counterpoint) for use in the present edition .

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 . 2 The concertos of the period in between are problematical. There are a number of features of the prescrit concerto that lead me to believe that the flute wasexpected 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. However, in three places (first movement, bar 214 ; second 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. Furthermore, in the first movement in bars 100, 178, and 241, 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, it had, of course, 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 - obviously one possessed of great stamina in such a demanding concerto! - must do this too. 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, and also to Dr Erwin R . Jacobi of the University of Zürich, for help given during the preparation of this edition.

David Lasocki

Iowa City, Iowa, U .S.A . lune 1972

' Wotquenne indicates that the organ concerto was composed at Berlin in 1755, but omits a date and place for the flute concerto .

2 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), 200-08, and Hermann Beck, "Das Soloinstrument im Tutti des Konzerts der zweiten Hälfte des 18. Jahrhunderts,"Ibid.,427-35.

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