The Composition of Flute Sonata in E Minor, BWV 1034 by Johann Sebastian Bach

Abigail Emmert

MUS 3594: Music History I

December 11, 2018

1

Johann Sebastian Bach did not write exclusively for the transverse flute until later in life,1

but today he is considered an important composer of standard flute repertoire, including Flute

Sonata in E Minor, BWV 1034 and other virtuosic pieces.2 A major composer of the Baroque

era, Bach remained loyal to the characteristics of Baroque era music in his compositions,

including his flute sonatas. A devout Lutheran, Bach’s compositions were also influenced by

religion. A brief look into his life will clarify that Bach was influenced by the flute’s growing

development and popularity to write exclusively for flute and that he even helped to continue the

flute’s growth. In addition, by analyzing Bach’s Flute Sonata in E Minor, BWV 1034, it will

become evident that Bach was influenced by his own compositional style reflecting the Baroque

era and his Christianity when writing his flute sonatas. Lastly, analyzing this piece will help me

further understand Bach’s compositional style for flute so that I may be able to confidently

interpret his flute pieces in my future music career.

In 1685, Johann Sebastian Bach was born to a musical family, in fact their name “Bach”

was considered synonymous with music.3 Johann learned violin and the basics of music theory

from his father, Johann Ambrosius. Interestingly, Johann Sebastian was first introduced to the

keyboard, the instrument for which he is most famously known, by Johann Christoph, his older

brother.4 Johann attended Lateinschule at Eisenach in Germany, where he studied Latin and a

curriculum based on religion.5 As an adult, he composed for several courts, most notably in

1. Addington, Christopher, "The Bach Flute," The Musical Quarterly 71, no. 3 (1985): 264, http://www.jstor.org.proxy1.library.eiu.edu/stable/948156.2. Reisenweaver, Anna J, “The Development of the Flute as a Solo Instrument from the Medieval to the Baroque Era,” Music and Worship Student Presentations, (2011): 8, https://digitalcommons.cedarville.edu/cgi/viewcontent.cgi?article=1007&context=music_and_worship_student_presentations. 3 . Boyd, Malcolm, Bach, 3rd ed, (New York: Oxford University Press, 2000), 3.4. Boyd, 6.5. Boyd, 5.

2

Weimar and Cöthen.6 Even though he worked in the courts for some of his life, J. S. Bach’s

ultimate goal was to work in a church to adequately glorify God through his music.7

From 1723 to his death in 1750, J. S. Bach served as the St. Thomas Church cantor in

Leipzig, Germany and simultaneously taught music at the St. Thomas School. At the school, he

taught private lessons as well as ensembles in both vocal and instrumental settings.8 Bach was

responsible for creating Lutheran church service music, including sonatas da chiesa, and then

later performing them in service.9 A Lutheran-centered city, Leipzig was the perfect area to

furnish Bach with worship spaces and fuel inspiration for his music compositions; Bach wrote all

of his pieces with God in mind.10 It worked in Bach’s favor because the churches in Leipzig

were considered the place to meet “musical needs” due to the closure of the local opera house,

and the church services even continued for the majority of the day on which they had service.11

In addition to incorporating his religious beliefs in his compositions, Bach was also able

to implement his knowledge of rhetoric, a main idea in Baroque music. Composers and listeners

in the Baroque era really valued having meaning behind all text and music. It is believed that

Bach’s compositions may have been considered as representation of the Doctrine of Figures

theory, a theory created in the late 1900s stating that Baroque composers assigned specific

meanings to musical figures, also known as rhetoric.12 In addition to his compositional style

6. Boyd, 2.7. Peck, Jennifer R, “Unlocking the Affections in J.S. Bach’s Flute Sonata in E Minor, BMV 1034” (DMA Dissertation), University of Oklahoma, Norman, 201, 14, Retrieved from https://shareok.org/bitstream/handle/11244/50433/2011_Peck_Jennifer_Dissertation.pdf?sequence=1&isAllowed=y.8. Peck, 11.9. Reyes, Lidayne, “Graduate Flute Recital” (Master’s Thesis), Florida International University, Miami, 2011, 2, Retrieved from https://digitalcommons.fiu.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=1639&context=etd.10. Peck, 14.11. Peck, 19.12. Peck, 26.

3

being effected by religion and Baroque music characteristics, Bach was influenced in his flute

compositions by the development and increasing popularity of the flute.

At the turn of the 18th century, the transverse flute was being applied more instead of the

recorder because of its better flexibility in dynamics and range.13 Bach actually composed with

recorders in mind before exclusively writing for flute. In Bach’s orchestra, it was not uncommon

for a few musicians to perform on multiple instruments. Many musicians doubled on recorder

and were able to do so easily because of the simplicity of the instrument. Because of the

effectiveness of this method, Bach mostly chose to write for recorder instead of the transverse

flute. Despite the recorder’s popularity due to the ease of playing it, the transverse flute was

actually becoming more prevalent and more people were becoming virtuosos for flute

specifically.14 In fact, when the one-keyed flute was at its highest in popularity in the late

Baroque era, it was “virtually equal to the violin in importance.”15 With these factors in mind,

Bach’s started writing for flute and composed demanding flute music so that a “trained flutist of

very high caliber” was only capable of playing.16 Soon, Bach was one of the first non-French

composers to write exclusively for the transverse flute.17

Bach wrote all of his flute sonatas, except The Musical Offering collection, between 1720

and 1730 (during most of which he was in Leipzig), most likely taking note of the French flute

playing and composition because the flute was very prominent in France at the time. Jacques

Hotteterre le Romain, an important flutist and flute pedagogue, almost certainly influenced Bach

through Hotteterre’s textbook which directed Bach to better understand the flute’s mechanism

13. Toff, Nancy, The Flute Book: A Complete Guide for Students and Performers, (New York: Oxford University Press, 1996), 42.14. Peck, 7.15. Addington, 264.16. Peck, 7.17. Addington, 264.

4

and tendencies.18 Bach was definitely able to write more difficult flute music in Leipzig because

of the number of virtuosic flutists sprouting from the University of Leipzig.19 Bach established

some of the most important standard repertoire and actually impacted the development of the

flute and amount of flute music written.20 As a result of the increasing number of challenges in

compositions by Bach, Vivaldi, and others in the Baroque period, more mechanical changes

actually happened to the flute. All changes, such as adding keys to replace the holes, were

implemented to expand range and flexibility in style and other factors. Subsequently, more

music was written for the flute. These pieces, including Sonata in E Minor, are considered

standard today because of the technicality and style that he used, which influenced the flute’s

development further.21 Bach’s style, along with other components, can be analyzed within his

Flute Sonata in E Minor.

It is hard to arrange Bach’s flute sonatas in exact order, but Sonata in E Minor is most

likely a contribution from Bach’s first few years in Leipzig.22 The earliest manuscript found of

this sonata is dated around 1725, so it is projected to have been written in late 1724 during

Bach’s time as the St. Thomas cantor and music director, but that has not been confirmed.23

Because Sonata in E Minor is a sonata da chiesa, or a sonata that is intended to be performed in a

church setting,24 it is logical that he would have written it during his time in Leipzig as the

church cantor. Common to sonatas, each movement of Sonata in E Minor is structured based on

the opening theme. In other words, they begin with a “simple idea” and then continue to build

18. Addington, 265.19. Peck, 18.20. Reisenweaver, 9.21. Reisenweaver, 8.22. Boyd, 99.23. Cunto de Araújo, “J.S. Bach and The Flute Sonata: An Overview of the Authenticity and Chronology, and an Analysis of the E Minor Sonata, BMV 1034” (Master’s Thesis), Queens College of the City of University of New York, New York, 1990, 7, Retrieved from http://iar.unicamp.br/~savio/artigos/master.pdf.24. Peck, 6.

5

off that idea. This concept is called Fortspinnung or the action of “spinning forth.”25 To add

contrast to the constant imitations of the opening theme, the movement includes the divertimenti

or development. This is intended to be a tension reliever that moves farther away from the

theme.26 The sonata is accompanied by keyboard and basso continuo.27 More specific to sonata

da chiesa, Sonata in E Minor follows the slow-fast-slow-fast sequence of movements,28 with each

movement being either binary or ternary form.29 This sonata is in E minor for most of the piece,

and it is not exactly known why this key was chosen. However, it was undeniably among the

easier keys to play on flutes from that time period.30 The preferred keys were G and D major,

and we can conclude that their relative minors were favored as well. Because of the mechanics

of the transverse flute at the time, these keys were preferred. Keys with more than three sharps

consisted of notes that were mostly out of tune.31 Later advancements to the flute resulted in

fewer notes with intonation problems, so there are no real restrictions for the key today. The key

could have also been used to convey emotion. Holding true to the values of the Baroque Era,

Sonata in E Minor was fully intended to “project an emotion.”32 We can look deeper into Bach’s

compositional intentions, influenced by religion and Baroque traditions, within each movement.

The first movement, Adagio ma non tanto, is a two-part movement in AB form,33 or

binary form.34 Although it is a slow movement, it does not drag. As seen in example 1.0, the

main motive revolves around “falling and rising thirds” which increase and decrease the intensity

25. Peck, 30.26. Cunto de Araújo, 13.27. Peck, 5.28. Reyes, 2.29. Cunto de Araújo, 13.30. Peck, 31.31. Toff, 44.32. Cunto de Araújo, 13.33. Cunto de Araújo, 13.34. Reyes, 2.

6

often (appendix 1.0). In fact, all of the measures, excluding two, include the interval of a third.

The momentum of rising and falling in this interval expresses a persistent and forward drive.35

The flute is responsible for keeping the energy up because it enters on the first upbeat and shortly

after performs a suspension all in the first measure (appendix 1.0).36 With no repeats there is no

hesitation, so the direction is forward-moving all throughout.37 Clearly, even though the

movement is labeled adagio, it does not mean the movement is meant to be played very slowly.

Instead, research has suggested that the tempo is adagio to mean “grief.” The key of E minor

also adds a sad effect of course, but it is more “pensive, profound,” and “grieved.”38 These

descriptive words can be rooted in Bach’s religious meanings in his music. Continuously

inspired by Lutheranism, Bach alludes to the difference between this life and the next.39 In the

patterns of the first movement specifically, “the falling and rising are an excellent depiction of

making a decision between the things of this world and the things of the next.”40 The up and

down movements of the thirds mentioned earlier can represent taking steps through life and

making decisions to influence one’s own future. The third in downward descent can be

interpreted as “the contemplation of sorrows of this passing world” while the ascending thirds

sprinkled in are to present some light and hope to “embrace the promises yet to come.”41 The

following movements support religious interpretations, remaining dedicated to Bach’s desired

glorification of God through music and feeding into the interests of the Baroque listeners with

rhetoric.

35. Peck, 31.36. Cunto de Araújo, 13.37. Peck, 32.38. Peck, 31.39. Peck, 40.40. Peck, 41.41. Peck, 42.

7

Allegro is the second movement to follow the pattern for sonata da chiesa. Bach

consistently chose allegro to “restore the tempo of the piece” which could be understood as

providing a comforting mood and tempo. He most likely set the movement in cut-time to

emphasize its “fugue-like characteristics” or to communicate to the musicians to perform

“slightly faster than allegro.”42 The form is the same as that of the first movement: two parts

with a development. Bach includes rhetoric through the use of sequences to create an

atmosphere of intensity as the sequence patterns progress. Sequences are used to “expand the

course of the principal motif and lengthen the phrases.” The contrapuntal motion or the way the

flute and basso continuo interact even “generates a sequence of suspensions.”43 Sequencing also

probably aids in feeling the movement “slightly faster than allegro.” As seen in example 2.0, the

main motive is repeated three times, starting in the very first measure and includes a pattern of

eighth and sixteenth notes followed by four eighth notes spaced apart in wide intervals (appendix

2.0). This rhythm adds some joy and “lightheartedness.”44 The sequencing begins in measure

five with the flute and the basso continuo entering with imitation of the flute rhythm, which

makes that moment fugue-like (appendix 2.0). To help the performer with the seemingly

everlasting technical passages, it could be beneficial to think of flying and feeling weightless like

an angel, alluding to Bach’s other sacred pieces which clearly bring to mind angels to represent

the technical fast passages.45 Contrary to the first movement, E minor in the context of the

second movement emanates “lightheartedness” rather than grief. D major does, however, appear

with the repeat of the opening motif 46 which implies a “sharp or “headstrong” tone.47 Putting the

42. Peck, 44.43. Cunto de Araújo, 15.44. Peck, 45.45. Peck, 50.46. Peck, 44.47. Peck, 45.

8

clues together, it seems that the purpose of the second movement is to express comfort and

cheerfulness from the motif to the sequences to the key, including intermittent contrast with

some intensity within the motif and the key change.

Andante is the third movement, structured in ABA form and actually keyed in G major to

follow the tradition of a sonata da chiesa. In addition to being in the relative major or minor (in

this case the relative major), a sonata da chiesa third movement is “more loosely constructed than

the first movement.”48 To open the third movement, a passacaglia, or “a harmonically open-

ended bass line,” is “stated three times” within different textures.49 Seen in example 3.0, this can

also be referred to as the ostinato pattern which establishes the triple meter before the flute enters

in the sixth measure (appendix 3.0).50 The melody is shaped with ascending notes which then

descend back down with a rhythm twice as fast.51 In the return of the A section, it is embellished

even more.52 Beginning the phrases, a major triad in root position lands on the downbeat and

then an inverted diminished triad lands on the next downbeat.53 It is interesting that this slower

movement is in major rather than minor. One could interpret the use of G major here as the

“hidden joy” for Christians amongst all of the hardships in life. There is “joy to be found in a

relationship with Christ that can accompany you throughout the trials and sorrows of life.”

Different from the minor movements, this movement symbolizes the joy that emanates through a

life dedicated to Jesus Christ. Bach’s motive in the third movement is also recognized as an

allusion to the comfort found in a relationship with Jesus because he composed the same kind of

motives in other pieces to symbolize Jesus as well.54

48. Cunto de Araújo, 18.49. Reyes, 4.50. Peck, 51.51. Peck, 54.52. Peck, 51.53. Peck, 54.54. Peck, 58.

9

The fourth and final movement opens in similar form to the first movement opening.55

Also labeled Allegro, the fourth movement should actually be distinctly different from the

second movement. The sequences in the second movement are more “solemn” while the fourth

movement themes are lighter and “dancelike.”56 In triple meter and E minor, the fourth

movement has a fugue-like opening as the basso continuo imitates the flute’s opening motive of

sixteenth notes and eighth notes, which can be seen in example 4.0 (appendix 4.0). To establish

binary form, the opening motive is the A section and its “inversion” becomes the “theme of the B

section.”57 After modulating to the dominant in minor, the same melody occurs again in that

key.58 “Each A and B sections” are “augmented by the repetition of the movement.”59 As a

result of this, the alternating rhythmic patterns between the flute and basso continuo (traditional

of a sonata da chiesa in the fourth movement)60 and its fugue-like character in this movement are

“rhythmically driving.”61 This concept, starting in measure thirteen of example 4.0, could allude

to anger and misery, especially because of the back and forth conversations of the flute and basso

continuo (appendix 4.0). While one voice plays repeating notes, signifying annoyance, the other

voice plays fast notes, an obvious use of rhetoric.62

For Baroque era compositions, especially those of Bach, ambiguity of the tempo,

articulations, and dynamics is a common concern for musicians today. Performers in the

Baroque era were expected by the composers to follow the Baroque style without needing all of

these aspects clearly marked. Studying the Baroque and Bach styles helps the musicians to make

55. Reyes, 4.56. Cunto de Araújo, 26.57. Peck, 59.58. Reyes, 5.59. Cunto de Araújo, 22.60. Cunto de Araújo, 21.61. Peck, 60.62. Peck, 63.

10

the best judgments as to how Baroque compositions would be performed. Analyzing Bach’s

Flute Sonata in E Minor has been beneficial in developing a better understanding of how to play

or teach Bach’s flute material in my future music career.

With no exact tempo markings, the performer must choose based on the kind of emotion

the movement is meant to express. For example, if the movement is labeled allegro to mean

cheerful, the tempo should reflect cheerfulness. Carl Philipp Emanuel Bach, Johann Sebastian’s

son, believed this and also recommended that the performer consider the most challenging

passages. The tempo is “directly connected with the piece’s affect” which is the most important

takeaway from Baroque era music. Adagio ma non tanto from Sonata in E Minor means to play

slowly, but not too slowly. This is a vague tempo setting, but after analyzing the movement and

Bach’s compositional styles, a musician should be able to conclude that the tempo should have

more of a sense of moving forward to embrace the title’s meaning.63

In addition to tempo, few articulations were ever marked in the Baroque period because it

was expected that the performer simply follow the traditional style instead of the composer

feeling the need to write out all of the articulations. This is similar to the way in which jazz

articulations are not thoroughly written in today; jazz performers are expected to understand the

style and play with appropriate articulation. The few articulations that are marked, if any, in

Baroque era music are meant to serve as points of reference for the rest of the piece.64 Dynamics

are rarely marked in Baroque music, especially Bach’s music, so musicians today generally

approach them by increasing volume with tension and decreasing volume with releases of

tension. Sometimes ornaments can be vague, but typically longs trills in Bach sonatas are

63. Cunto de Araújo, 26.64. Cunto de Araújo, 27.

11

approached by the upper note first. Short trills are played extremely fast and are considered

short appoggiaturas which add “life and brilliance” to the piece.65

One of the most important composers of the Baroque era, Johann Sebastian Bach was

considered a composer of standard repertoire for flute. His dedication to Lutheranism and use of

Baroque era characteristics are evident in his Flute Sonata in E Minor. After learning more

about the flute, Bach was able to write exclusively for the transverse instrument and as a result

impacted the development and compositions of the flute further.

65. Cunto de Araújo, 28-30.

12

Appendix

1.0

2.0

13

3.0

4.0

14

Bibliography

Addington, Christopher. "The Bach Flute." The Musical Quarterly 71, no. 3 (1985): 264-80. http://www.jstor.org.proxy1.library.eiu.edu/stable/948156.

Boyd, Malcolm. Bach. 3rd ed. New York: Oxford University Press, 2000.

Cunto de Araújo. “J.S. Bach and The Flute Sonata: An Overview of the Authenticity and Chronology, and an Analysis of the E Minor Sonata, BMV 1034” (Master’s Thesis), Queens College of the City of University of New York, New York, 1990, Retrieved from http://iar.unicamp.br/~savio/artigos/master.pdf.

Peck, Jennifer R. “Unlocking the Affections in J.S. Bach’s Flute Sonata in E Minor, BMV 1034” (DMA Dissertation), University of Oklahoma, Norman, 2011, Retrieved from https://shareok.org/bitstream/handle/11244/50433/2011_Peck_Jennifer_Dissertation.pdf?sequence=1&isAllowed=y.

Reisenweaver, Anna J. “The Development of the Flute as a Solo Instrument from the Medieval to the Baroque Era.” Music and Worship Student Presentations. (2011). https://digitalcommons.cedarville.edu/cgi/viewcontent.cgi?article=1007&context=music_and_worship_student_presentations.

Reyes, Lidayne. “Graduate Flute Recital” (Master’s Thesis), Florida International University, Miami, 2011, Retrieved from https://digitalcommons.fiu.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=1639&context=etd.

Toff, Nancy. The Flute Book: A Complete Guide for Students and Performers. New York: Oxford University Press, 1996.