At the beginning of the XVIIIth century, the transverse flute, with the French masters such as

Hotteterre or De la Barre, is suddenly brought to the fore of the musical scene, at the end of an

obscure and painstaking prehistory. Technically improved in its accuracy, it will rapidly supplant its

flimsier rival, the recorder. Although Bach saved for the latter important pages in his cantatas,

notably in the fourth Brandenburg concerto, he created no autonomous work of pure music. The

transverse flute was more resourceful, as well in expressiveness as in technique. Be that as it may

for the transverse flute, like the violin or the cello, Bach created master pieces which easily outclass

an overabundant repertoire.

SONATA IN C MAJOR BWV 1033

This short but perfect work, dating back to Cothen, if Bach is indeed the author, is superficially

different from the others through formal structure details. It nevertheless comes to the slow-lively-

slow-lively structure of the old church sonata.

SONATA IN E MINOR BWV 1034

In these two genuine sonatas for flute and basso continuo, Bach remains faithful to the traditional

structure of the Italian church: slow-lively-slow-lively for it complying to the writing on two staves,

less developped than the trio for two.

SONATA IN E MAJOR BWV 1035

Of all the pages Bach reserved for the transverse, here is the smoothest, the most charming in

sonority ; the simplicity and transparency of the form and the structure need no analysis.

SONATA IN B MINOR BWV 1030

This sonata, perhaps the most beautiful ever created for the flute, represents the perfected model of

the instrumental duet for three voices or the trio for two instruments. Rarely did Bach express

himself with such a profoundness, as far as chamber music is concerned. The choice of the B minor

key, favourable to the flute and already use in the Suite for flute and strings BWV 1067, is the sign

of the outstanding nature of the work ; it is the great mystical tone of the Cantor, of the initial kyrie

of the great Mass BWV 232, of the Prelude and Fugue for organ BWV 544, of the many cantatas in

which Bach put the gist of his spiritual message.

SONATA IN E MAJOR BWV 1031

Famous work, above all thanks to the marvelous Sicilian, of which one would most hate

questioning the genuineness, in spite of [he very peculiar nature of the finale. Anyhow, it is a master

piece, and if Bach is indeed the author, he must have written it in ( olhcn. The formal plan is

identical to that of BWV 1020. However, the writing remains constantly for three voices, the

inspiration being higher and more original.

SONATA IN A MAJOR BWV 1032

The text in the A major Sonata is a problem. This work in three movements, which is known to be

previous to BWV 1030, has come to us incomplete. More than one third of the first piece is

missing. Bach has noted this sonata at the bottom of the pages of the Concerto for two harpsichords

and strings BWV 1062. There were always three spare staves, paper being expensive and Bach

thrifty. Now, the bottom of these pages was cut off and unfortunately there is no other manuscript,

handwritten or reproduction of the Sonata. One can exactly assess the length of the lost part by

comparing it with the written part of the intact pages : the bars 63 to 108 of this movement which is

composed of 110 bars have disappeared.

SONATAS IN G MINOR BWV 1020

Although the only source available of this sonata, a handwritten copy kept in the Berlin National

Library, £ears the note "for the violin", it seems beyond any doubt that it was intended for the

transverse flute as the nature of the writting of the melodic instrument indicates it. The work is

somehow a transition, through some points, between the traditional Sonata with basso continuo and

the new type of trio for two instruments favoured by Bach in all his master sonatas. The form,

modern, is that of the £oncerto in the Italian style, in three movements, lively-slow-lively.