Largo e Dolce. Performed by Alex Murray transverse flute and Martha Goldstein harpsichord. Performed by Felix Skowronek transverse flute and Martha Goldstein lute-harpsichord. Glossa Records. Archived from the original PDF on December 8, Go to menu Go to content.
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Performed by Alex Murray transverse flute and Martha Goldstein harpsichord. The continuo part can be played on one or more instruments. Along with other flute sonatas by Bach, the sonata has entered the standard repertoire used for examination purposes for both flute and recorder in several countries, when it is usually performed with piano accompaniment from an authorised edition using a fixed realisation of the figured bass.
For more details see Powell Chamber music and orchestral works by, and transcriptions after, Johann Sebastian Bach. List of compositions by Johann Sebastian Bach. Classical music portal. The first section of a binary movement in a Baroque suite or instrumental sonata , for example, might contain two clearly differentiated themes , but the stress is on continuity and on uniformity of musical texture rather than on contrast.
In sonata form the emphasis is more dynamic; there is a stronger sense of contrast within the movement. In reality it is contrast of key, or tonal contrast, that characterizes the sonata-form exposition.
The later segments of the exposition move decisively to a closely related but distinct key. The second key chosen is almost invariably one of the two keys most closely related to the home key. If the home key is a major key, the dominant key is chosen; if the home key is minor, the relative major is chosen. The dominant key is the one whose keynote is five tones above that of the tonic, as C—G; the relative major has a keynote three tones above the relative minor, as A minor—C major.
The exposition thus creates an opposition of tonalities or key areas that the rest of the movement—the development and recapitulation—will strive to reconcile. Compared with the contrast of keys, the question of how many themes the movement possesses is of minor structural significance. The thematic organization of a movement in sonata form may affect the character of the exposition, and thus of the whole movement, in two specific respects.
When two themes or groups of themes are clearly differentiated, their distribution may help the listener to assimilate the cardinal points of the tonal design that is, the arrangement of keys of the movement. When, on the other hand, such differentiation between themes is obscured or set at variance with the organization of tonalities, the very tension between thematic design and tonal scheme may greatly enhance the subtlety and interest of the form.
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