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Journal articles on the topic 'Flute sonatas'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Swack, Jeanne. "John Walsh's Publications of Telemann's Sonatas and the Authenticity of ‘Op. 2’." Journal of the Royal Musical Association 118, no. 2 (1993): 223–45. http://dx.doi.org/10.1093/jrma/118.2.223.

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In the past decade the eighteenth-century London music publisher John Walsh has been subject to a new evaluation with regard to his pirated editions and deliberate misattributions, especially of the music of George Frideric Handel. That Walsh's attributions were anything but trustworthy had already been recognized in the eighteenth century: a surviving copy (London, British Library, BM g.74.d) of his first edition of the Sonates pour un traversiere un violon ou hautbois con basso continuo composées par G. F. Handel (c.1730), which, as Donald Burrows and Terence Best have shown, was provided with a title-page designed to simulate that of Jeanne Roger, bears the manuscript inscription ‘NB This is not Mr. Handel's’ in an eighteenth-century hand at the beginning of the tenth and twelfth sonatas, precisely those that Walsh removed in his second edition of this collection (c. 1731–2), advertised on the title-page as being ‘more Corect [sic] than the former Edition’. In the second edition Walsh substituted two equally questionable works in their place, each of which bears the handwritten inscription ‘Not Mr. Handel's Solo’ in a copy in the British Library (BM g.74.h). Two of the sonatas attributed to Handel in Walsh's Six Solos, Four for a German Flute and a Bass and Two for a Violin with a Thorough Bass … Composed by Mr Handel, Sigr Geminiani, Sigr Somis, Sigr Brivio (1730; in A minor and B minor) are also possibly spurious, while three of the four movements of the remaining sonata attributed to Handel in this collection (in E minor) are movements arranged from his other instrumental works. And in 1734 Johann Joachim Quantz, to whom Walsh devoted four volumes of solo sonatas (1730–44), complained of the publication of spurious and corrupted works:There has been printed in London and in Amsterdam under the name of the [present] author, but without his knowledge, 12 sonatas for the transverse flute and bass divided into two books. I am obliged to advertise to the public that only the first, second, fourth, fifth and sixth [sonatas] from the first book, and the first three from the second book, are his [Quantz's] compositions; and that he furthermore wrote them years ago, and besides they have, due to the negligence of the copyist or the printer, gross errors including the omission of entire bars, and that he does not sanction the printing of a collection that has no relationship with the present publication that he sets before the public.

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2

Miller, Leta E. "C. P. E. Bach's Sonatas for Solo Flute." Journal of Musicology 11, no. 2 (1993): 203–49. http://dx.doi.org/10.2307/764030.

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3

Leedy, Douglas, Joseph Bodin de Boismortier, Clifford Bartlett, Carl Heinrich Graun, Herbert Kolbel, Johann Philipp Kirnberger, Rudolph Rasch, Francois Philidor, and Gwilym Beechey. "Six Sonatas, Op. 19; For Flute and Continuo." Notes 45, no. 1 (September 1988): 156. http://dx.doi.org/10.2307/941411.

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4

Miller, Leta E. "C. P. E. Bach's Sonatas for Solo Flute." Journal of Musicology 11, no. 2 (April 1993): 203–49. http://dx.doi.org/10.1525/jm.1993.11.2.03a00030.

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5

Ford, Robert, Carl Friedrich Abel, Thomas Augustine Arne, Charles Avison, William Boyce, Thomas Erskine, and Giuseppe Sammartini. "Six Sonatas for 2 Violins or Flute and Violin and Continuo, Op. 3." Notes 45, no. 2 (December 1988): 377. http://dx.doi.org/10.2307/941366.

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6

Talbot, Michael. "Seven Trio Sonatas, and: Six Quartets for Flute, Violin, Viola, and Basso Continuo (review)." Notes 62, no. 3 (2006): 806–9. http://dx.doi.org/10.1353/not.2006.0036.

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7

Oleskiewicz, Mary. "6 Kammersonaten fur 2 Floten und Basso continuo, and: Sonata I in D-Dur fur zwei Floten und Basso continuo, and: Sonata II in D-Dur fur zwei Floten und Basso continuo, and: Sonata III in a-Moll fur zwei Floten und Basso continuo, and: Complete Sonatas for Flute and Basso Continuo, and: Complete Sonatas for Flute and Obbligato Keyboard (review)." Notes 59, no. 1 (2002): 169–76. http://dx.doi.org/10.1353/not.2002.0139.

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8

Rickards, Guy. "Icarus Soaring: the music of John Pickard." Tempo, no. 201 (July 1997): 2–5. http://dx.doi.org/10.1017/s0040298200005763.

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Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1993, 1994; a fourth in progress), a piano trio (1990), sonatas for piano (1987) and cello and piano (1994–5), vocal and choral works, pieces for orchestral brass (Vortex, 1984–5) and brass band – the exhilarating Wildfire (1991), which crackles, hisses and spits in ferocious near–onomatopoeia, and suite Men of Stone (1995), celebrating four of the most impressive megalithic sites in Britain, one to each season of the year. There are other works for a variety of solo instruments and chamber ensembles, such as the intriguing grouping of flute, clarinet, harpsichord and piano trio in Nocturne in Black and Gold (1983) and the large–scale Serenata Concertante for flute and six instruments of a year later. Still in his mid-thirties – he was born in Burnley in 1963 – Pickard has already made almost all the principal musical forms of the Western Classical tradition his own, with only opera, ballet and the concerto as yet untackled.

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9

Fick, Kimary. "Feeling the Feminine, Forming the Masculine: Amateur Male Musicians and the Flute Sonatas of Anna Bon di Venezia (1738–?)." Women and Music: A Journal of Gender and Culture 24, no. 1 (2020): 130–53. http://dx.doi.org/10.1353/wam.2020.0002.

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10

Burrows, D. "George Frideric Handel, The Chamber Music: Vol I, The Flute Sonatas; Vol. II, The Violin Sonatas; The OBOE Sontas, Vol. III, The Trio Sonatas OP 2, Vol. IV, The Trio Sonatas OP 5; Vol V, Trio Sonatas for Two Violins and Basso Continuo; Vol VI, The Recorder Sonatas, L' Ecole d'Orphee CRD 3373-78 (six CDs, issued 1992) Trio Sonatas OP.2 London Baroque Harmoma Mundi HMC 901379 (rec 1991) Trio Sonatas OP.5, London Baroque Harmoma Mundi HMC 901389 (rec 1991); Trio Sonatas OP.5, La Stravaganza Salzburg, directed by Siegbert Rampe, Saphir INT 830.882 (rec 1990)." Early Music XXI, no. 1 (February 1, 1993): 153–55. http://dx.doi.org/10.1093/em/xxi.1.153.

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11

WILLIS, CHRISTOPHER. "DOMENICO SCARLATTI (1685–1757) COMPLETE KEYBOARD SONATAS; SIX CONTINUO SONATAS (K78, K81, K88, K89, K90, K91) Richard Lester (harpsichord, fortepiano and organ), Mark Baigence (oboe), Warwick Cole (violoncello), Elizabeth Lester (recorder), Jonathan Morgan (flute), Ben Sansom (violin) and Taro Takeuchi (mandolin) Privilege Accord 68001 – 68020, 2001–2005; 38 discs." Eighteenth Century Music 3, no. 2 (September 2006): 352–55. http://dx.doi.org/10.1017/s1478570606320635.

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12

Yoon, Moonyoung, and Jiyoung Yoon. ""A Musical Analysis of Sonata for Flute and Piano by Paul Hindemith -Focusing on Neoclassical Characteristics "." Journal of Humanities and Social sciences 21 12, no. 4 (August 31, 2021): 1493–504. http://dx.doi.org/10.22143/hss21.12.4.106.

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13

Tyshchyk, V. "The system formation of professional accordionist’s skills on the example of V. Vlasov «Album for children and youth»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 172–87. http://dx.doi.org/10.34064/khnum2-49.12.

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Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.

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14

Backus, Joan, Denis Bedard, Denis Gougeon, and Francois Morel. "Sonate pour flute et piano (1984)." Notes 51, no. 2 (December 1994): 757. http://dx.doi.org/10.2307/898917.

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15

Stoune, Michael C., Michel Blavet, Silvio Corrado, and Pierre Paubon. "Six Sonates, op. 2; pour la flute traversiere, avec la basse." Notes 42, no. 1 (September 1985): 158. http://dx.doi.org/10.2307/898271.

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16

Marissen, Michael. "A Critical Reappraisal of J. S. Bach's A-Major Flute Sonata." Journal of Musicology 6, no. 3 (1988): 367–86. http://dx.doi.org/10.2307/763863.

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17

Marissen, Michael. "A Critical Reappraisal of J. S. Bach's A-Major Flute Sonata." Journal of Musicology 6, no. 3 (July 1988): 367–86. http://dx.doi.org/10.1525/jm.1988.6.3.03a00040.

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18

Taran, Vladimir. "CREATIONS WITH THE PARTICIPATION OF THE BASSOON SIGNED BY VLADIMIR ROTARU." Akademos 60, no. 1 (June 2021): 134–36. http://dx.doi.org/10.52673/18570461.21.1-60.18.

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Vladimir Rotaru is one of the famous composers from the Republic of Moldova, whose compositions include both orchestral and chamber-instrumental works. In this article, the author made a brief analysis of the repertoire for bassoon that includes both solo and chamber compositions, such as Suite for flute, oboe, clarinet, and bassoon; Monothematic metamorphoses; Sonata-dialogue for bassoon and piano; Caprice for bassoon and piano. The aim of the article concerned is reviewing the creations for bassoon signed by Vladimir Rotaru, being in a succinct language features and architectonic creations componentistic concerned.

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19

Swack, Jeanne. "Quantz and the Sonata in E, major for flute and cembalo, BWV1031." Early Music XXIII, no. 1 (February 1995): 31–53. http://dx.doi.org/10.1093/earlyj/xxiii.1.31.

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20

Lasocki, David, Giovanni Platti, Gregory Hayes, Thomas Vincent, George Pratt, Johann Christoph Pepusch, Himie Voxman, et al. "Sonata in C Minor; For Oboe (Violin, Flute) and Basso Continuo (Harpsichord, Piano)." Notes 45, no. 3 (March 1989): 622. http://dx.doi.org/10.2307/940829.

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21

Hunter, J. F. M. "Pleasure." Dialogue 26, no. 3 (1987): 491–500. http://dx.doi.org/10.1017/s0012217300047302.

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What is pleasure? Don't we all know? How could so many of us pursue it so eagerly otherwise? Or how could we so readily and confidently say whether this, that and the other are pleasures? Having one's back rubbed, dancing, listening to a Bach flute sonata and eating a cheese soufflé are pleasures, while having a cold, smelling rotten eggs and reading Hegel are not. We may not be able to define pleasure, but if we can readily say what is a pleasure and what is not, must we not know what it is, just as we know what a chair is if we can correctly identify chairs, distinguishing them from stools, benches and couches?

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22

Wallace, Robin. "Myth, gender, and musical meaning:The magic flute,Beethoven, and 19th‐century sonata form revisited." Journal of Musicological Research 19, no. 1 (January 1999): 1–25. http://dx.doi.org/10.1080/01411899908574765.

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23

Krusenstjerna, Mary, Carl Philipp Emanuel Bach, Marjam Nastasi, Franz Schubert, Jurgen Kindermann, Karlheinz Zoller, Konrad Richter, et al. "Sonate A Moll fur Flote solo (Wq. 132)." Notes 44, no. 4 (June 1988): 821. http://dx.doi.org/10.2307/941051.

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24

Ordoñana, Jose A., and Ana Laucirica. "Lerdahl and Jackendoff's Grouping Structure Rules in the Performance of a Hindemith Sonata." Spanish journal of psychology 13, no. 1 (May 2010): 101–11. http://dx.doi.org/10.1017/s113874160000370x.

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In the last decades, musical cognitive psychology has intervened to build a bridge towards the comprehension of musical structures. The present paper studies the behavior of several students and music professionals in relation to grouping structure and it does so through the performance analysis of the first movement of Hindemith's sonata for flute and piano, according to the rules formulated by Lerdahl and Jackendoff, movement chosen because of its tonal ambiguity. The participants of this experiment are three medium level female Conservatory students. They performed the aforementioned piece after studying it for a whole trimester. The performance of the same piece by three professional musicians was also analyzed, using the appropriate commercial recordings for this purpose. This analysis includes the choice of group limits used in performance by both professionals and students and the comparison of both groups' results. Differences were observed in the placement of said limits by the different groups but all of them respected the set of rules formulated by Lerdahl and Jackendoff.

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25

SUTCLIFFE, W. DEAN. "MUZIO CLEMENTI, OPERA OMNIA VOLUME 1: SIX SONATAS FOR HARPSICHORD OR PIANO, OP. 1 ED. ANDREA COEN Bologna: Ut Orpheus Edizioni, 2000 pp. xii + 55, ISMN M 2153 0537 3 VOLUME 10: DUO FOR TWO PIANOS OR TWO HARPSICHORDS, OP. 1A, AND DUO FOR TWO PIANOS, OP. 12 ED. ROBERTO ILLIANO Bologna: Ut Orpheus Edizioni, 2001 pp. ix + 28, ISMN M 2153 0655 4 VOLUME 12: THREE SONATAS FOR HARPSICHORD OR PIANO, OP. 7 ED. COSTANTINO MASTROPRIMIANO Bologna: Ut Orpheus Edizioni, 2002 pp. x + 36, ISMN M 2153 0656 1 VOLUME 21: THREE SONATAS FOR PIANO AND VIOLIN, OP. 15 ED. LUCA SALA Bologna: Ut Orpheus Edizioni, 2000 pp. ix + 71, ISMN M 2153 0571 7 VOLUME 30: THREE SONATAS FOR PIANO OR HARPSICHORD, VIOLIN AND CELLO, OP. 27 ED. MASSIMILIANO SALA Bologna: Ut Orpheus Edizioni, 2001 pp. xi + 70, ISMN M 2153 0576 2 VOLUME 35: THREE SONATAS FOR PIANO WITH FLUTE AND CELLO AD LIBITUM, OP. 32 ED. ROBERTO ILLIANO Bologna: Ut Orpheus Edizioni, 2003 pp. ix + 43, ISMN M 2153 0859 6 VOLUME 37: TWO SONATAS AND TWO CAPRICCIOS FOR PIANO, OP. 34 ED. ANDREA COEN Bologna: Ut Orpheus Edizioni, 2002 pp. x + 81, ISMN M 2153 0782 7." Eighteenth Century Music 2, no. 2 (September 2005): 351–59. http://dx.doi.org/10.1017/s1478570605280417.

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26

Dumitriu, Leonard. "Syntaxes and metro-rhythmic categories in Viorel Munteanu’s Concerto for flute and string orchestra." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 133–47. http://dx.doi.org/10.2478/ajm-2021-0006.

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Abstract the piece by composer Viorel Munteanu reveals the symbiosis between past musical ages and modernity, between established compositional techniques (of the string orchestra) and contemporary sound emission processes (the solo flute). The syntaxes of past trends in music, polyphony and homophony, as well as modern treatments of rhythm, such as polyrhythm, coexist felicitously and result in a type of musical thought that, although anchored in the past, looks forward to the future. Rhythm can be considered from various metric perspectives, especially in the faster parts of the concerto. Rhythmic layers are present both vertically (polyrhythms) and horizontally (polyphons of rhythms); the cross of the two variants is of particular interest. The aksak rhythm, characteristic of the Balkan area, may come as a surprise as it briefly occurs in Part III; this unexpected element brings an inspired change of horizon, followed by a return to the previous giusto expression. The form of the last part, Rondo, can also be discussed from a modern perspective, rooted in the past; it could actually be placed within in the Rondo-Sonata pattern; however, its sound contour does not belong to the tonal sphere, but rather to a form of extended modalism. The soloist instrument merges with the string orchestra and emerges from it, in a discourse that clearly bears the mark of the composer’s creative personality. The most successful element of the work is its expressiveness, the way in which the compositional and technical means are subordinated to the aesthetic message that Viorel Munteanu intends to transmit to the public.

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27

Mikolon, Anna. "Piano and chamber works by Jerzy Gablenz (1888-1937)." Notes Muzyczny 2, no. 10 (December 20, 2018): 123–43. http://dx.doi.org/10.5604/01.3001.0012.9815.

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The article is aimed at presenting piano and chamber music written by the forgotten composer of the period of the Young Poland. Born in Cracow to a family with rich music traditions, Jerzy Gablenz learned to play the piano, flute, cello and organ. But his main interest was to write music himself. As early as in his youthful years, he wrote songs and piano miniatures mainly dedicated to Małgorzaa Schoen, his future wife. He graduated from law school, but he also studied composition and theory of music with Władysław Żeleński, Feliks Nowowiejski and Zdzisław Jachimecki. His main occupation was managing the vinegar and mustard factory. Despite that, he found time for writing symphonic, opera, chamber, piano and vocal pieces. His piano works – due to their tunefulness, diversified texture, mysteriousness and ballroom elegance – are unquestionably worth promoting. They include: 4 Small Bagatelles op. 1 no. 1, 4 Improvisations op. 1 no. 3, 3 Improvisations op. 1 no. 4, Intermezzo a la mazurka op. 2, 2 Morceaux op. 3, Two Small Bagatelles op. 8, 2 Skizzen op. 24 Es war niemal…, or Suite op. 35. Gablenz’s chamber works cover: Canzona op. 1 no. 2 for flute and piano, Sonata op. 15 for cello and piano, 5 Waltzes op. 28 for piano 4 hands, Arabesque op. 28 no. 6 for oboe and piano, Trios for three female voices and piano to lyrics by Leopold Staff op. 4 and op. 19. Unfortunately, Gablenz’s tragic death on 11 November 1937 in a plane crash near Piaseczno made the further development of his great talent impossible. I believe that his creative output deserves promoting among music lovers not only in the Dominican Republic and Canada, but first of all in Poland, where some of his works still have not had their premiere performances, despite numerous efforts of Tomasz Gablenz, the composer’s son.

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28

Sackmann, Dominik, and Siegbert Rampe. "Bach, Berlin, Quantz und die Flötensonate Es-Dur BWV 1031." Bach-Jahrbuch 83 (March 13, 2018): 51–85. http://dx.doi.org/10.13141/bjb.v19971837.

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Als der amerikanische Bachforscher Robert Marshall seine Überlegungen zu Bachs Spätwerk veröffentlichte, versuchte er darzulegen, daß Bach während der 1730er und frühen 40er Jahren vom galanten Stil beeinflußt wurde. Im Gegenzug widerlegte Frederick Neumann die von Marshall aufgestellten Thesen und vertrat die herkömmliche Vorstellung, Bach habe sich in seinem Spätwerk historisch weit zurückliegenden Stilen zugewandt. Im Mittelpunkt des Beitrags werden die Ergebnisse von Marshall aufgegriffen, modifiziert und zu der 'Sonate für Flöte und obligates Cembalo Es-Dur BWV 1031' in Beziehung gesetzt. Dabei geht es nicht nur um das Problem der Echtheit, sondern auch um die stilistische und zeitliche Nachbarschaft zu anderen Werken von Bach. (Oliver Schlinke, Quelle: Bibliographie des Musikschrifttums online)

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29

Dirksen, Peter. "Ein verschollenes Weimarer Kammermusikwerk Johann Sebastian Bachs?" Bach-Jahrbuch 89 (March 12, 2018): 7–36. http://dx.doi.org/10.13141/bjb.v20031780.

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Angesichts der disparaten Quellen und der uneinheitlichen Werkgestalt stellt sich die Frage nach Vorgeschichte und Entstehungszeitraum der Triosonate BWV 528. Als Ausgangspunkt dient die Sinfonia aus der Kantate Die Himmel erzählen die Ehre Gottes BWV 76, die das Urbild von BWV 528/1 darstellt. Dabei werden die Abweichungen zwischen verschiedenen Fassungen des Kantatensatzes ebenso wie die Unterschiede zur Orgelbearbeitung eingehend dargestellt. Die Sinfonia wird dabei in ihren Ursprüngen auf die Weimarer Zeit Bachs datiert, was die weitere Argumentation in der Annahme eines aus dieser Zeit stammenden Kammermusikwerkes stützt, das in der Orgelfassung überdauert haben könnte. Besonders die Instrumentierung der Kantatensätze und die orgelspezifische Einrichtung derselben werden erläutert. Verwiesen wird zudem auf die Sinfonia zu Tritt auf die Glaubensbahn BWV 152, die als Schwesterwerk zu BWV 76/8 betrachtet wird. Der zweite Satz, BWV 528/2, wird vor dem Hintergrund der erhaltenen Frühfassung BWV 528/2a und wiederum BWV 76/8, besonders der Variante (bezeichnet als BWV 76/8a) erörtert. Auch auf andere Werke Bachs mit ähnlichen kompositorischen Elementen wird verwiesen. Bezogen auf seine Befunde anhand des dritten Satzes der Sonate (unter anderem wird eine Verbindungslinie zu BWV 541 erwogen) kommt der Autor zu der Vermutung, dass dieser zwar auch deutliche Hinweise auf ein Weimarer Original liefere, trotzdem stilistisch weit von beiden anderen Sätzen abstäche. Nichtsdestotrotz stellt die hypothetisch rekonstruierte Urfassung für ihn eine wesentliche Bereicherung des Bildes von Bachs Weimarer Schaffen wie seiner Kammermusik dar. Erwähnte Artikel: Hans Eppstein: Grundzüge in J. S. Bachs Sonatenschaffen. BJ 1969, S. 5-30 Werner Breig: Bachs Violinkonzert d-Moll. Studien zu seiner Gestalt und seiner Entstehungsgeschichte. BJ 1976, S. 7-34 Alfred Dürr: Merkwürdiges in den Quellen zu Weimarer Kantaten Bachs. BJ 1987, S. 151-157 Roswitha Bruggaier: Das Urbild von Johann Sebastian Bachs Choralbearbeitung "Nun komm, der Heiden Heiland" (BWV 660). Eine Komposition mit Viola da Gamba? BJ 1987, S. 165-168 Jean-Claude Zehnder: Giuseppe Torelli und Johann Sebastian Bach. Zu Bachs Weimarer Konzertform. BJ 1991, S. 33-95 Bruce Haynes: Johann Sebastian Bachs Oboenkonzerte. BJ 1992, S. 23-44 Klaus Hofmann: Neue Überlegungen zu Bachs Weimarer Kantaten-Kalender. BJ 1993, S. 9-29 Russell Stinson: "Ein Sammelband aus Johann Peter Kellners Besitz": Neue Forschungen zur Berliner Bach-Handschrift P 804. BJ 1992, S. 45-64 Klaus Hofmann: Ein verschollenes Kammermusikwerk Johann Sebastian Bachs. Zur Fassungsgeschichte der Orgelsonate Es-Dur (BWV 525) und der Sonate A-Dur für Flöte und Cembalo (BWV 1032). BJ 1999, S. 67-80

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Graubart, Michael. "Erwin Schulhoff, et al. - ‘Lost Generation’. ERWIN SCHULHOFF: Double Concerto for Flute, Piano and String Orchestra with Two Horns, WV 89, op. 63; Sonata for Flute and Piano, WV 86, op. 61; Three Pieces for String Orchestra, WV 5, op. 6. VIKTOR ULLMANN: Chamber Symphony, op. 46a (String Quartet No.3, op. 46) (arranged for string orchestra by Kenneth Woods). VILEM TAUSKY: Coventry – Meditation for String Orchestra. Ulrike Anton (fl), Russell Ryan (pno), English Chamber Orchestra c. David Parry. Exil.Arte Gramola 98964 – LC 20638." Tempo 67, no. 264 (April 2013): 105–7. http://dx.doi.org/10.1017/s0040298213000375.

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Wagstaff, John. "VII. suonate a doi, violino & violadagamba, con cembalo, opera prima, and: VII. suonate a due, violino et violadagamba con cembalo, opera secunda, and: Pieces en trio pour les flutes, violon, & dessus de viole, and: Clavier Uebung bestehend im Praeludio, Fuga, Allemande, Courante, Sarabande und Gigue, and: Harmonice Musices Odhecaton A, and: Six Solos for a Violoncello with a Thorough Bass for the Harpsichord, Opera IX, and: Six Sonatas for Violoncello and Keyboard, Opp. 9 (review)." Notes 60, no. 4 (2004): 1024–28. http://dx.doi.org/10.1353/not.2004.0080.

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Celikoglu, Ferhat, and Cahit Aksu. "AN ANALYSIS OF JOHANN SEBASTIAN BACH’S E MINOR FLUTE SONATA IN TERMS OF TECHNIQUE AND POSSIBLE ETUDE PROPOSALS THAT CAN BE WRITTEN FOR PERFORMANCE." Idil Journal of Art and Language 6, no. 39 (December 20, 2017). http://dx.doi.org/10.7816/idil-06-39-23.

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