6 Kammersonaten für 2 Flöten und Basso continuoby Antoine Mahaut; János Malina;Sonata I in D-Dur für zwei Flöten und Basso continuoby Wilhelm Friedemann Bach; Elisabeth Weinzierl;

6 Kammersonaten für 2 Flöten und Basso continuo by Antoine Mahaut; János Malina; Sonata Iin D-Dur für zwei Flöten und Basso continuo by Wilhelm Friedemann Bach; ElisabethWeinzierl; Edmund Wächter; Sonata II in D-Dur für zwei Flöten und Basso continuo byWilhelm Friedemann Bach; Elisabeth Weinzierl; Edmund Wächter; Sonata III in a-Moll für zweiFlöten und Basso continuo by Wilhelm Friedemann Bach; Elisabeth Weinzierl; Ed ...Review by: Mary OleskiewiczNotes, Second Series, Vol. 59, No. 1 (Sep., 2002), pp. 169-176Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/900786 .

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Music Reviews Music Reviews

the physical evidence as well as in the music as exhaustive as possible about physical evi- -in, for example, Charpentier's notational dence that readers of a facsimile edition peculiarities (such as the notorious white cannot see, such as details of gathering noteheads where black ones are expected, structure. If not, Massip is likely to find her- the source of much controversy). Scholars self facing more, not fewer, requests for who notice anomalies in handwriting style, access to the fragile originals. layout on the page, and the like will want to investigate. Under the circumstances, we can only hope that Hitchcock's forthcom- Lois Rosow ing volume of commentary (ser. IV) will be Ohio State University

Antoine Mahaut. 6 Kammersonaten ffr 2 Floten und Basso continuo. Herausgegeben von Janos Malina; Continuo-Aussetzung von Matyas Kovacs. Erstausgabe. Adliswil-Zurich: Edition Kunzelmann, c1993. [Heft 1: Nrn 1-3. Score, 45 p.; and 3 parts. GM 1628a.C 11.25. Heft 2: Nrn 4-6. Score, 39 p.; and 3 parts. GM 1628b. e11.25.]

Wilhelm Friedemann Bach. Sonata I in D-Dur ffir zwei Floten und Basso continuo. Herausgegeben von Elisabeth Weinzierl und Edmund Wachter; Continuo-Aussetzung von Winfried Michel. Winterthur: Amadeus Verlag, Bernhard Pauler, 1993. (Camera flauto Amadeus, 91.) [Pref. in Ger., Eng., p. 2-3; score, p. 4-16; and 3 parts; Krit. Bericht, back cover recto. BP 761. 9.71.] Wilhelm Friedemann Bach. Sonata II in D-Dur ffir zwei Floten und Basso continuo. Herausgegeben von Elisabeth Weinzierl und Edmund Wachter; Continuo-Aussetzung von Winfried Michel. Winterthur: Amadeus Verlag, Bernhard Pauler, 1993. (Camera flauto Amadeus, 92.) [Pref. in Ger., Eng., front cover verso, back cover recto; score, p. 2-12; and 3 parts. BP 762. C9.71.]

Wilhelm Friedemann Bach. Sonata III in a-Moll fur zwei Floten und Basso continuo. Herausgegeben von Elisabeth Weinzierl und Edmund Wachter; Fragment-Erganzung und Continuo-Aussetzung von Winfried Michel. Winterthur: Amadeus Verlag, Bernhard Pauler, 1993. (Camera flauto Amadeus, 93.) [Pref. in Ger., Eng., front cover verso, p. 20; score, p. 1-19; and 3 parts. BP 763. 13.29.] C. P. E. Bach. Complete Sonatas for Flute and Basso Continuo. [Edited by Ulrich Leisinger]. Monteux, France: Musica Rara [Breitkopf & Hartel], c1995-99. [Vol. 1 (1995): 1, Sonata in G Major, Wq. 123/H. 550; 2, Sonata in E Minor, Wq. 124/H. 551. Pref., 3 p.; score, p. 1-12; and 2 parts. MR 2212. 11.50. Vol. 2 (1995): 3, Sonata in D Major, Wq. 126/H. 553; 4, Sonata in G Major, Wq. 127/H. 554. Pref., 3 p.; score p. 1-16; and 2 parts. MR 2213. 13.04. Vol. 3 (1996): 5, Sonata in A Minor, Wq. 128/ H. 555; 6, Sonata in G Major, Wq. 134/H. 548. Pref., 3 p.; score, p. 1-19; and 2 parts. MR 2214. 13.80. Vol. 4 (1996): 7, Sonata in Bi Major, Wq. 125/H. 552; 8, Sonata in B, Major, Wq. 130/H. 560. Pref., 3 p.; score p. 1-16; and 2 parts. MR 2215. 13.04. Vol. 5 (1999): 9, Sonata in D Major, Wq. 129/H. 556; 10, Sonata in D Major, Wq. 131/H. 561. Pref., 3 p.;

the physical evidence as well as in the music as exhaustive as possible about physical evi- -in, for example, Charpentier's notational dence that readers of a facsimile edition peculiarities (such as the notorious white cannot see, such as details of gathering noteheads where black ones are expected, structure. If not, Massip is likely to find her- the source of much controversy). Scholars self facing more, not fewer, requests for who notice anomalies in handwriting style, access to the fragile originals. layout on the page, and the like will want to investigate. Under the circumstances, we can only hope that Hitchcock's forthcom- Lois Rosow ing volume of commentary (ser. IV) will be Ohio State University

Antoine Mahaut. 6 Kammersonaten ffr 2 Floten und Basso continuo. Herausgegeben von Janos Malina; Continuo-Aussetzung von Matyas Kovacs. Erstausgabe. Adliswil-Zurich: Edition Kunzelmann, c1993. [Heft 1: Nrn 1-3. Score, 45 p.; and 3 parts. GM 1628a.C 11.25. Heft 2: Nrn 4-6. Score, 39 p.; and 3 parts. GM 1628b. e11.25.]

Wilhelm Friedemann Bach. Sonata I in D-Dur ffir zwei Floten und Basso continuo. Herausgegeben von Elisabeth Weinzierl und Edmund Wachter; Continuo-Aussetzung von Winfried Michel. Winterthur: Amadeus Verlag, Bernhard Pauler, 1993. (Camera flauto Amadeus, 91.) [Pref. in Ger., Eng., p. 2-3; score, p. 4-16; and 3 parts; Krit. Bericht, back cover recto. BP 761. 9.71.] Wilhelm Friedemann Bach. Sonata II in D-Dur ffir zwei Floten und Basso continuo. Herausgegeben von Elisabeth Weinzierl und Edmund Wachter; Continuo-Aussetzung von Winfried Michel. Winterthur: Amadeus Verlag, Bernhard Pauler, 1993. (Camera flauto Amadeus, 92.) [Pref. in Ger., Eng., front cover verso, back cover recto; score, p. 2-12; and 3 parts. BP 762. C9.71.]

Wilhelm Friedemann Bach. Sonata III in a-Moll fur zwei Floten und Basso continuo. Herausgegeben von Elisabeth Weinzierl und Edmund Wachter; Fragment-Erganzung und Continuo-Aussetzung von Winfried Michel. Winterthur: Amadeus Verlag, Bernhard Pauler, 1993. (Camera flauto Amadeus, 93.) [Pref. in Ger., Eng., front cover verso, p. 20; score, p. 1-19; and 3 parts. BP 763. 13.29.] C. P. E. Bach. Complete Sonatas for Flute and Basso Continuo. [Edited by Ulrich Leisinger]. Monteux, France: Musica Rara [Breitkopf & Hartel], c1995-99. [Vol. 1 (1995): 1, Sonata in G Major, Wq. 123/H. 550; 2, Sonata in E Minor, Wq. 124/H. 551. Pref., 3 p.; score, p. 1-12; and 2 parts. MR 2212. 11.50. Vol. 2 (1995): 3, Sonata in D Major, Wq. 126/H. 553; 4, Sonata in G Major, Wq. 127/H. 554. Pref., 3 p.; score p. 1-16; and 2 parts. MR 2213. 13.04. Vol. 3 (1996): 5, Sonata in A Minor, Wq. 128/ H. 555; 6, Sonata in G Major, Wq. 134/H. 548. Pref., 3 p.; score, p. 1-19; and 2 parts. MR 2214. 13.80. Vol. 4 (1996): 7, Sonata in Bi Major, Wq. 125/H. 552; 8, Sonata in B, Major, Wq. 130/H. 560. Pref., 3 p.; score p. 1-16; and 2 parts. MR 2215. 13.04. Vol. 5 (1999): 9, Sonata in D Major, Wq. 129/H. 556; 10, Sonata in D Major, Wq. 131/H. 561. Pref., 3 p.;

169 169



NOTES, September 2002

score, p. 1-16; and 2 parts. MR 2216. C 14.57. Vol. 6 (1999): 11, Sonata in G Major, Wq. 133/H. 564. Pref., 2 p.; score, p. 1-10; and 2 parts. MR 2217. C 14.83.]

C. P. E. Bach. Complete Sonatas for Flute and Obbligato Keyboard. [Edited by Ulrich Leisinger]. Monteux, France: Musica Rara [Breitkopf & Hartel], c1993-94. [Vol. 1 (1993): Sonata in B6 Major, Wq. 161.2/H. 578. Pref., 2 p.; score, 21 p.; and 1 part. MR 2202. C11. Vol. 2 (1993): Sonata in D Major, Wq. 83/H. 505. Pref., 3 p.; score, 20 p; and 1 part. MR 2203. C 10. Vol. 3 (1993): Sonata in E Major, Wq. 84/H. 506. Pref., 2 p.; score, 19 p.; and 1 part. MR 2204. C10. Vol. 4 (1994): Sonata in G Major, Wq. 85/H. 508. Pref., 4 p.; score, 14 p.; and 1 part. MR 2205. 9. Vol. 5 (1994): Sonata in G Major, Wq. 86/H. 509. Pref., 4 p.; score, 13 p.; and 1 part. MR 2206. C9. Vol. 6 (1994): Sonata in C Major, Wq. 87/H. 515. Pref., 4 p.; score, 13 p.; and 1 part. MR 2207. C9.]

Recent years have seen renewed interest in eighteenth-century music that lies stylistically on the border between the baroque and classical styles. At the same time, performers have begun to present this music more sensitively and knowledge- ably. The various editions of sonatas by mid-eighteenth-century composers for one or two flutes with keyboard accompaniment addressed in this review will be of considerable interest to musicians, above all to players of modern, baroque, and early classical flute. Janos Malina presents the first modern edition of Antoine Mahaut's six trio sonatas for two transverse flutes and basso continuo, and Elisabeth Weinzierl and Edmund Wachter contribute a new edition of Wilhelm Friedemann Bach's three known trio sonatas for two flutes and continuo. By far the most extensive and researched publication here is Ulrich Leisinger's complete edition of Carl Philipp Emanuel Bach's sonatas for solo flute with either basso continuo or obbligato keyboard accompaniment. All of the editions provide some contribution to the existing literature, but the choice to ac- quire each edition will depend upon the need for owning all available publications of a particular repertoire.

It is fair to expect that an edition, whether or not it claims to be critical, should provide a meticulous reading of the notes as well as articulation and other details. Each of the present editions reasonably meets this aim. If an edition also presents a realization of a figured bass, however, the editor has the responsibility to

provide highly accurate and stylish treat- ment of harmony, texture, and dissonance. This is true whether or not the edition pur- ports to be critical or scholarly, but it is perhaps most important when the publication is aimed at performers who rely on the editor to present reliable and informed texts.

Given that many of the sonatas under review are already available in reasonably dependable editions, the continuo realizations present some of the most distinguish- ing features of the present volumes. Inas- much as some of these editions meticulously document and correct detailed readings in the melody and bass parts, it is disappoint- ing that the editorial realizations fail to reflect the composers' intentions, style, and harmony insofar as we can determine-and we can determine much, given that one of the composers, C. P. E. Bach (1714-1788), devoted extensive discussion to figured bass realization in precisely this type of repertory. Unfortunately, in these publications, as in many otherwise good editions, the figured bass symbols are realized in a sort of generic four-part "theory-class" style, without the adjustments that Bach described in the two volumes of his Versuch uber die zoahre Art das Clavier zu spielen (Berlin: C.F. Henning; G. L. Winter, 1753-62; facsim. reprint of pts. 1-2 (with the supplements from the Leipzig 1787 ed. of pt. 1 and 1797 ed. of pt. 2), ed. Wolfgang Horn [Kassel: Barenreiter, 1994]) to render such an accompaniment expressive and sensitive to the parts carrying the melody.

These refinements include fairly obvious ones, such as varying the number and tessi-

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tura of voices in the realization to reflect the strength and register of the written parts, as well as more subtle adjustments, such as omitting the realization of individual figures that create clashes with appoggiaturas and other ornaments. When appoggiaturas occur in the main part, Bach (in vol. 2 of his Versuch) advises the key- boardist to avoid a clash by not doubling the appoggiatura and to allow the melodic part rhythmic freedom in resolving the dissonance. Further refinements specific to flute music include Johann Joachim Quantz's strictures against doubling certain pitches -especially leading tones in "sharp" keys such as B and F#-which sound badly when a tempered keyboard (equal or otherwise) doubles a more purely tuned flute. Despite the evident care that C. P. E. Bach (and Quantz) took to document nearly every possible musical scenario and its proper realization, the present realizations seem to disregard his prescriptions and even include occasional elementary errors, such as parallel fifths and octaves and improperly prepared or resolved dissonances (especially seventh chords). Bach's guidelines, to be sure, are not applicable to all eighteenth- century music. But certainly these instruc- tions should be followed in editions of Bach's own music and, as a point of depar- ture, they are appropriate to the other editions also under review here. It takes considerable effort to learn and apply this art -realizations that fail to reflect this exper- tise can convey negative impressions of the music and the performers. Therefore, editors unable to provide suitable realizations (or to find knowledgeable collabora- tors who could) would do better simply to omit the realization.

Antoine Mahaut (1719-ca. 1785), a Franco-Flemish flutist, is perhaps best known today for his treatise on flute playing, Nouvelle methode pour apprendre en peu de tems a jouer de la flute traversiere ... suivie de petits airs, menuets, brunettes &c. accomodes pour deux flutes, violons et pardessus de viole, II recueil ([Paris: de La Chevardiere,1759], 63 p.), published simultaneously with an abridged version in Flemish and French, Nieuzoe manier om binnen korten tijd op de dzwarsfluit te leeren speelen (nieuwe druk [Amsterdam: J. J. Hummel, 1759], 36 p.), and available today in a facsimile edition (Geneva: Minkoff, 1972) as well as in an English translation (A Nezw Method for

Learning to Play the Transverse Flute, trans. and ed. Eileen Hadidian, Publications of the Early Music Institute [Bloomington: Indiana University Press, 1989]). Although not a prolific composer, Mahaut did com-

pose several collections of flute music, which are inconsistently cited in RISM A/I (Einzeldrucke vor 1800, ed. Karlheinz Schlager, 13 vols. to date [Kassel : Baren- reiter, 1971- ], 5:393-94), Hadidian's edition of Mahaut's treatise (pp. 67-68), and Nicki Carr's article on Mahaut in the second edition of the Newo Grove Dictionary of Music and Musicians ([New York: Grove, 2001], 15:599-600). These works include IV sonate a flauto traversiere solo col basso continuo, op. 1 (Paris: Le Clerc, ca. 1737; also Amsterdam: Gerhard Fredrik Witvogel); two books of six sonatas each for two solo flutes or violins without basso continuo (Amsterdam: A. Olofsen; and London: J. Walsh; another Dutch edition of book 1 calls the collection op. 4; two sonatas from book 1 appear in a modern edition by Hugo Ruf: Zwei Sonaten fur zzwei Querfloten oder Violinen ohne Bass, L'arte del flauto [Wilhelmshaven: Noetzel Edition, 1986]); and the VI sonate da camera a tre, due flauti traversieri, o due violini e violoncello o basso continuo (Amsterdam: A. Olofsen, 1751; published as book 1 in Paris by Le Clerc in 1755). Mahaut's flute music will certainly be of interest to anyone who has consulted his treatise.

Lacking both a preface and a critical commentary, Malina's edition of Mahaut's VI sonate da camera a tre provides no information on the sources consulted nor on the publication history of the collection. Copies of the Olofsen print survive in the Toonkunst-Bibliotheek in Amsterdam and the Rijksuniversiteits Bibliotheek in Leiden. Another edition of these sonatas was issued by the Augsburg printer Johann Christian Leopold. A copy of this edition survives in the Zurich Zentralbibliothek, and may be the basis for Malina's edition since the pub- lisher, Kunzelmann, is based in Adliswil- Zurich.

Mahaut's appellation "sonate da camera" in the title is perhaps misleading, for all six trios are in four movements with tempos that alternate slow-fast-slow-fast, a structure associated today with the sonata da chiesa, although this was by no means universal at the time. Peter Allsop (Arcangelo Corelli: Nev Orpheus of Our Times, Oxford Monographs

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on Music [Oxford: Oxford University Press, 1999], 69) prefers to call them "free sonatas." The style of the music is late baroque in flavor, and at least one of the works (the second movement of No. 6 in D Major) includes a real fugue in three parts. All are well-written, ambitious pieces, mak- ing this first modern edition a very wel- come contribution to the repertory.

Malina's edition presents a few question- able details. In each sonata, the editor in- serts a lengthy, anachronistic double flute cadenza into the penultimate (or sometimes final) measure of the first movements; in the scores, however, only a fermata is indicated at each of these points. Without consulting the 1751 edition, one cannot determine whether the fermata is editorial, but in any case, its position in each work is most unidiomatic. Moreover, in some of the sonatas, a subsequent movement will end with a final cadential formula identical to that of the work's first movement, but now without a fermata. No such fermatas occur in the solo sonatas of Mahaut's opus 1. To judge from the style of these cadenzas, the editor has not consulted the example of a cadenza approved (implicitly) by Mahaut for the unattributed air "Caro mio dolce Amore" included in the appendix to his treatise (see Hadidian, p. 65). This cadenza, unlike many of those in Malina's edition of the Sonate da camera a tre, is playable in a single breath and is similar to those recommended by Quantz in his Versuch einer Anzoeisung die Flote traversiere zu spielen (Berlin: J. F. Voss, 1752; facsim. reprint with foreward by Hans-Peter Schmitz and epiologue, commentary, supplements, and index by Horst Augsbach [Kassel: Barenreiter, 983, etc.]). A few odd- ities include strokes that appear above the ornamental thirty-second notes in the flutes in the first sonata (mvt. 1, mm. 7-8) and unlikely placements of slurs and ties, as occur throughout the third movement of the same sonata (e.g., flute I, final beat of m. 32). Throughout the edition, score and parts fail to agree on details of articulation, and it is unclear which, if either, represent the original readings.

Occasional lapses of proofreading, as in a cadence of the fourth movement of Sonata no. 2 (flute I, m. 39 should read b, not a), are few and easily corrected. Not so the editorial realization of the basso continuo,

which is written strictly in four parts and ig- nores the changes in tessitura and charac- ter of the flute parts. Not only does the upper voice of the realization frequently double the flutes, but it sometimes moves above them unnecessarily (as in the final cadences of Sonata no. 1, mvt. 1), and parallel fifths and octaves abound (Sonata no. 1, mvt. 3, m. 26; and mvt. 4, mm. 2-3 and 4-5).

The three trio sonatas for flutes and basso continuo by Wilhelm Friedemann Bach (1710-1784) are substantial-if at times wonderfully quirky-works and are well worth getting to know. They have been reedited here by Elisabeth Weinzierl and Edmund Wachter and published in the series Camera flauto Amadeus (Sonatas nos. 1-3 correspond to nos. 47-49 in Martin Falck's Wilhelm Friedemann Bach: Sein Leben und seine Werke mit thematischem Verzeichnis seiner Kompositionen und zwei Bildern (Studien zur Musikgeschichte, 1 [Leipzig: C. F. Kahnt, 1913; reprint, Hildesheim: G. Olms, 1977]). Unfortunately, the recent recovery of the Notenarchiv (historical music collection) of the former Berliner Sing- Akademie, which contained the oldest sources for all three trio sonatas (missing since the end of World War II), now makes this edition obsolete (see Christoph Wolff, "Recovered in Kiev: Bach et al.: A Pre- liminary Report on the Music Collection of the Berlin Sing-Akademie," Notes 58, no. 2 [December 2001]: 259-71). Max Seiffert based his 1934 edition of these works (Vier Trios fur 2 Soloinstrumente mit GeneralbajS, in W. F. Bach, Ausgediihlte Instrumentalzerk, 1 [Leipzig: Breitkopf & Hartel, 1934; reprint, 1957]) on the Sing-Akademie material while tacitly correcting apparent errors in several sources in that collection. Weinzierl and Wachter, on the other hand, base their edition of the first trio (F. 47) on what was for them the oldest source then extant, a set of parts ca. 1800 that "resembles the lay-out of a mid 18th century manuscript" (p. 3).

The most problematic of the three works is F. 49 in A minor, of which only the first movement and an eight-measure fragment of the second survive in an autograph from the Sing-Akademie. Weinzierl's and Wachter's edition of the surviving portion "is based on Seiffert," who had been able to consult the Sing-Akademie autograph in Berlin; the editors have attempted to make

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uniform the "irregularities of articulation [that] seem to have been scrupulously included from the original" (p. 20). Winfried Michel, who is also responsible for the continuo realizations for all three sonatas, has completed the second movement. At first his completion plausibly extends the motivic material. It is unclear, however, how much of the "Canon augmentationis" ap- pended to the end of the movement is newly composed; apparently it derives from contrapuntal sketches that follow the fragment in the manuscript. The third and final movement, a fugue completely absent in the original, is newly composed for this edition except for its subject, which Michel borrows from the first movement. Although the reconstructed material suggests some familiarity with Friedemann Bach's interest in both canonic counterpoint and chro- matic harmony, the stylistic anomalies are likely to baffle users of the edition.

The general editorial remarks that ac- company each of the three trio sonatas at- tempt to make sense of the sources and variants noted by Seiffert, yet they fail to reflect more recent research on sources and chronology, citing nothing written after 1983. Of particular importance is Peter Wollny's dissertation "Studies in the Music of Wilhelm Friedemann Bach: Sources and Style" (Ph.D., Harvard Uni- versity, 1993). In addition, the assertion (in the commentary to each trio sonata) that the "limited" range of the flute parts may signify an origin in Friedemann Bach's Dresden period is unfounded.

Michel's realization of the continuo raises familiar problems, including inner voices that apparently take little notice of the clashes they produce with the flute parts, such as appoggiaturas where, accord- ing to C. P. E. Bach, the flute should intro- duce and resolve the dissonance without the continuo simultaneously playing the main note (as in Sonata no. 1, mvt. 1, m. 3). In other instances, Michel's realization in- troduces nonharmonic tones or incorporates melodic lines that create nonsensical dissonances with the melody (Sonata no. 1, mvt. 2, m. 3). In addition, frequent over- sights require correction-in the first movement of Sonata no. 1, for instance, the final note of the bass in m. 18 should read F#1 not Gl; the flutes in m. 31 should have g#l instead of g1 (compare the bass

line in the previous measure, where the same motive contains the accidental); in m. 55 of the flute I part, fU1 should read g', as in the score; in the second movement, the realization contains dubious and inap- propriate passage-work, as in mm. 78-80 and 86, that repeatedly creates passing dissonances and doubles the leading tone a#' at the unison in the highest voice. In general, Seiffert's older edition of Friedemann Bach's trio sonatas remains preferable to this newer one, since he commits few errors and includes a realization that, although also not historically stylish, is preferable for its overall restraint and correctness of harmony and voice-leading.

The rediscovery of the Berlin Sing- Akademie archive also comes too late to in- form Ulrich Leisinger's new twelve-volume edition for Musica Rara of C. P. E. Bach's accompanied solo flute works (now distrib- uted by Breitkopf & Hartel). Much of this edition will require significant reevaluation against the newly available Sing-Akademie materials, whose entire contents have yet to be cataloged and made public. Several earlier practical editions of Bach's flute sonatas precede the Leisinger set, notably those by Kurt Walther, which present all but one of the sonatas published in the Musica Rara edition (Wq. 123, 124, 128, 131 appear in C. P. E. Bach, Sonaten fur Flote und Basso continuo, Hortus Musicus, 71-72 [Kassel: Barenreiter, 1936-40; various reprints, including 1990 as Sonaten fur Querflote ...]; Wq. 125-127, 129, 130, 134 in 6 Sonaten fur Flote und Klavier [Frankfurt am Main: W. Zimmermann, 1958]; and Wq. 83-86 in Vier Sonaten fir Flote und Klavier (Cembalo) [Wiesbaden: Breitkopf & Hartel, 1955; reprint, 1983]; reedited by Gerhard Braun, with realization by Siegfried Petrenz, as Vier Sonaten fur Flote und Cembalo (Klavier), 2 vols. [Wiesbaden: Breitkopf & Hartel, 1987-89]); Walther omitted Wq. 87 (H. 515), which appeared in the same year in an edition by Gustav Scheck and Hugo Ruf (Sonate C-Durfuir Flote und konzertierendes Cembalo (Klavier), Ars musicae et studium [Munich: Deutscher Ricordi, 1955]).

Leisinger organizes his edition into two parts of six volumes each: eleven flute sonatas with basso continuo accompaniment (in chronological order of origin: Wq. 123/H. 550, Wq. 124/H. 551, Wq. 126/H. 553, Wq. 127/H. 554, Wq. 128/H.

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555, Wq. 134/H. 548, Wq. 125/H. 552, Wq. 130/H. 560, Wq. 129/H. 556, Wq. 131/H. 561, and Wq. 133/H. 564); and six flute sonatas with obbligato keyboard accompaniment (again chronologically: Wq. 161.2/H. 578, Wq. 83/H. 505, Wq. 84/H. 506, Wq. 85/H. 508, Wq. 86/H. 509, and Wq. 87/H. 515). He excludes Bach's single sonata for unaccompanied flute, Wq. 132/ H. 652. Leisinger ought to have explained that the chronological ordering of his edition is based on the latest surviving version of each piece and is contrary to the existing numbering systems. The indication of rele- vant Wotquenne and Helm numbers on each volume cover, absent from previous editions, is very sensible.

Composed between 1738 and 1786, C. P. E. Bach's flute sonatas span the greater portion of his musical career. They reveal the changing tastes and styles of the times and, not surprisingly, their quality is uneven. In particular, some of the later works (Wq. 85-87, composed between 1754 and 1766) are not terribly distinctive-they can be played on a variety of instruments and, in their overriding triviality, seem to be composed as Hausmusik. Many of the other sonatas, however, are among Bach's best chamber music. The Sonata in E major for flute and obbligato keyboard, Wq. 84 (originally composed in 1749 for two flutes and continuo), is uncannily brilliant and witty, not to mention challenging to play, and always makes a positive impact in

performance. With one exception, each volume of the

continuo sonatas in Leisinger's edition contains two works, whereas each of the obbligato sonatas is published in a single volume. The availability of so many volumes makes it convenient for those who wish to purchase individual sonatas, yet this layout is costly for libraries, which must bind the volumes separately. For institutions that already own a previous edition of these works, it would be judicious to wait for these sonatas to reappear as part of the pro- jected C. P. E. Bach Collected Works currently in development under the auspices of the Packard Humanities Institute and manag- ing editor Paul Corneilson.

The contents of the set of continuo sonatas is straightforward, as there exist no disputes concerning attribution or instru- mentation for these works. The keyboard-

obbligato sonatas, however, raise significant questions in this regard. Only one of the sonatas (Wq. 87/H. 515), the latest of them, originated as an obbligato sonata. Others that survive in keyboard obbligato versions were composed as trio sonatas, and, follow- ing a common practice in eighteenth- century Germany, were later arranged or were indicated as playable as keyboard obbligato sonatas. Not all of the surviving obbligato versions, however, have clear ties to the composer. Leisinger's edition includes the obbligato settings that have di- rectly documentable connections to C. P. E. Bach through autograph scores, autograph entries or titles in manuscript copies, and, in one case, the title of a printed edition that mentions the possibility of substituting obbligato keyboard for one of the two original flute parts. Leisinger's selection matches all such works with connections to C. P. E. Bach cited by Leta E. Miller ("C. P. E. Bach's Sonatas for Solo Flute," Journal of Musicology 11 [1993]: 208-9).

It is certainly useful to have information as to which obbligato versions were without doubt connected to Bach, yet such rigorous criteria for inclusion discredit other sources for obbligato versions which, possi- bly by accident, have not come down to us with the composer's stamp of approval. For the most part, any trio of this period could have been played in this manner, and we know that some were conceived as playable either way. In particular, a document long recognized by C. P. E. Bach scholars as an authoritative list of his authorized works, known as the Nachlaflverzeichnis, indicates an additional sonata as also playable as a work for flute and obbligato keyboard. Moreover, not all of the authenticated keyboard-obbligato versions are equally id- iomatic. The title of Wq. 161.2, published in 1751 as a trio sonata for flute, violin, and bass, includes the remark that either of the upper parts may be played effectively on the keyboard. Yet, the composer provided no adjustments to accommodate the obbligato version (such as filling out the harmony when needed), as he (and other composers) often did in such cases (e.g., Wq. 84/H. 506). Wq. 161.2 is much less ef- fective in its obbligato-keyboard scoring than is Wq. 73/H. 504, another trio sonata for flute, violin, and bass that is excluded from the Leisinger edition, despite its des-

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Music Reviews

ignation in the Nachlaflverzeichnis as being for "Flote oder Clavier, Violine und BaB" (Miller, p. 213, and E. Eugene Helm, Thematic Catalogue of the Works of Carl Philipp Emanuel Bach [New Haven: Yale University Press, 1989], 110). The alternative version for Wq. 73 mentioned in the Nachlafiver- zeichnis is documented by at least one surviving eighteenth-century set of parts. Another work, Wq. 163/H. 588, also occurs in this alternate scoring (Miller, p. 211), but the many eighteenth-century sources transmitting the work as a trio sonata (with widely varying scorings) create problems in determining which version is primary.

As a whole, Leisinger's edition seems to bridge the gap between an ordinary per- forming edition and one that will meet more scholarly needs, and long lists of tedious critical notes or lengthy commentary will not daunt the average player. On the other hand, specialists will wish for additional discussion on certain points. For example, Wq. 134, an undated work that is listed first among the solo sonatas in the Nachlaflverzeichnis, is designated No. 6 because stylistically it appears to be a later revision. While this is plausible, the commentary provides insufficient argumenta- tion for Leisinger's numbering. Also no- table are the characterizations of Wq. 125 and Wq. 129 as early versions of Wq. 130 and Wq. 131, respectively, resulting in the publication of these sonatas as early-later pairs within single volumes of the edition. Although the sonatas in each pair are composed in the same key, in each case these works arguably share far less in common than might be expected from "two versions of the same piece" (preface to vols. 4 and 5). In the case of Wq. 125 and Wq. 130, only "the inner movements are largely identical," while the outer movements bear no clear relationship whatsoever. Conversely in the case of Wq. 125 and Wq. 130, the last movement of the later version is derived from the earlier sonata. Leisinger "recon- structs" mm. 5-8, 16-17, and 19-21 of the last movement in Wq. 125 to avoid "consecutive octaves and unresolved dissonances" with the bass (vol. 4, critical notes). Yet Walther's supposedly urtext version of the same sonata in the Zimmermann edition gives a different, problem-free melody and bass for these measures. Since Walther does not cite the source used for his edition, it is

impossible to tell which reading is correct without consulting the surviving source of the sonata.

Lapses in proofreading and omissions do occasionally occur. Representative exam- ples include the first movement of Wq. 84, mm. 128-29, 207-8, and 215-16, where the Triller von unten present in the autograph are missing from each half note in the keyboard part. In m. 59 of the second movement of Wq. 128, the flute's third, fifth, and seventh notes are altered to avoid "causing consecutive octaves with the bass," (vol. 3, critical commentary), but the octaves occur within a type of figuration that incorporates an intentional doubling of the bass. In the first movement of Wq. 133, m. 8 (flute), the ornament should fall on the second note of the measure, not the first, and in the first movement of Wq. 83, m. 142, a p occurs in the cembalo part that is accidentally omitted in the flute part; an editorial p should be added to the flute part when it enters in m. 142. With regard to the second movement of this sonata and elsewhere, more information about the lo- cation of slurs in the original sources would be helpful to clarify editorial solutions in places of "ambiguity" in the sources. Arguably, it is more stylistic and in keeping with other similar passages that the flutist plays the final eighth note in mm. 20 and 24 separately rather than slurred as recommended by Leisinger. Similarly, in m. 15 of the cembalo, the slur in the sources might be omitted because of the motivic inconsis- tency that results.

This edition leaves open the possibility of interpreting the ornament signs + and tr to mean short versus long trills. Yet in many contexts, it is clear that tr cannot refer to a long trill. Although in some eighteenth- century sources the sign + indicates a mor- dent, in Bach's music there is no meaning- ful distinction between the signs +, t., or tr. In fact, Bach appears to have employed the + as a hastily written t (see C. P. E. Bach, Keyboard Sonatas, ed. David Schulenberg, Carl Philipp Emanuel Bach Edition, ser. 1, vol. 18 [Oxford: Oxford University Press, 1995], xii).

If the edition has one serious flaw, it is the realization of the basso continuo, which, in all respects, is comparable to those in the editions already discussed here. While neither this newer publication

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nor Walther's older edition consistently pays heed to C. P. E. Bach's delicate style of accompaniment, Walther does render the part writing and harmonies more accu- rately, on the whole, especially with regard to the proper resolution of seventh chords as described in Bach's Versuch (see vol. 2, chap. 13, pt. 1, para. 18).

Performers will enjoy the Leisinger edition's overall clearer, less-crowded presen- tation of the score and parts over Walther's edition. On the other hand, consistently bad page turns for both flute and keyboard

will make it necessary to photocopy parts for performance. While many performers and scholars eagerly await the discoveries about these sonatas that are likely to arise from research on the Sing-Akademie archive, it is most convenient, in the mean- time, to have all of C. P. E. Bach's works for flute and keyboard available in a single, coherent edition.

MARY OLESKIEWICZ

University of Massachusetts, Boston

Pieds largis, oblique gauche

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Documents

6 Kammersonaten für 2 Flöten und Basso continuoby Antoine Mahaut; János Malina;Sonata I in D-Dur für zwei Flöten und Basso continuoby Wilhelm Friedemann Bach; Elisabeth Weinzierl;