Carl Philipp Emanuel Bach (1714–1788) Flute concerto in D major Wq 13
Urtext edited by Michael Rautenberg [fl,orch]
solos: fl – str – bc
Winner of the "Newly Published Music Competition" of the "National Flute Association" (USA) 2004 - First edition
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The work heretofore listed under "Wq 13/H.416" has been known as the Harpsichord Concerto in D major. However, the solo part is anything but idiomatic for that instrument, on which C.P.E. Bach was highly proficient. The collections of the Berliner Sing-Akademie, which are now accessible once again, offer proof that the work was originally a flute concerto. Ulrich Leisinger, who has been a peerless connoisseur of the oeuvre of this important composer for many years now, has prepared this first edition on the basis of the two surviving copies.
|2. Un poco andante e piano|
|3. Allegro assai|
Recent research has proven that Carl Philipp Emanuel Bach (1714–1788) did compose more concertos for the flute than the four works listed as nos. 166–169 in Alfred Wotquenne’s Thematisches Verzeichnis der Werke von Carl Philipp Emanuel Bach (1714–1788), Leipzig, 1905. A concerto in D minor which is virtually identical with the keyboard concerto Wq 22 is transmitted in at least five eighteenth-century sources. A further concerto, a variant version with flute of the keyboard concerto in D major Wq 13 which is printed here for the first time was known only from the catalogue of a Johann Ulrich Ringmacher, who ran a short-lived music shop in Berlin in the 1770s, but no copy seemed to survive.
According to the Verzeichniß des musikalischen Nachlasses des verstorbenen Kapellmeisters Carl Philipp Emanuel Bach (“Catalogue of Carl Philipp Emanuel Bach’s Estate”), Hamburg, 1790, p. 28, no. 15, the present concerto in D major, Wq 13/H. 416, was composed in Berlin in 1744. The light texture of the accompaniment and the melodic contour of the soloist’s part make it clear that the concerto was originally conceived for the flute. At some point C. P. E. Bach decided, however, to adapt the concerto to his own instrument, the keyboard, but for unknown reasons the information that the concerto originated as a flute concerto was overlooked when the catalogue of his musical estate was compiled around 1790.
By kind permission the present edition is based on the two eighteenth-century copies of the work preserved in the music archives of the Sing-Akademie zu Berlin (Shelf numbers: S.A. 2584, formerly ZD 1465i, and S.A. 4845, formerly ZE 1952n). The sources are on deposit at the Staatsbibliothek zu Berlin since December 2001 after their return from Kiev, Ukraine. The manuscripts are almost free of obvious mistakes. Details are given in the Critical Commentary in the edition of the score (MR 2281B). The edition follows the older and more reliable source with respect to the notation of solo and tutti sections, though it is evident that the flutist must have dropped out at least for those passages too low to suit the flute (the other copy often, but by no means always has rests in these instances). The original cadenza for the slow movement can be found as as No. 31 in manuscript MSM 5871 of the Brussels Conservatory.
Leipzig and Berlin, Spring 2002
Score and Parts MR 2281B available for sale