Sonata for Violin (Flute) and Harpsichord in G minor Cover Image

Sonata for Violin (Flute) and Harpsichord in G minor: Violin & Piano

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Sonata for Violin (Flute) and Harpsichord in G minor Cover Image
Sonata for Violin (Flute) and Harpsichord in G minor: Violin & Piano

Sonata for Violin (Flute) and Harpsichord in G minor: Violin & Piano

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By Carl Philipp Emanuel Bach / ed. Anne Marlene Gurgel

Item: 98-EP9856
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Additional Details
Series: Edition Peters
Publisher: Edition Peters
Page Count: 48
ISBN10: 0-01-407893-7
ISBN13: 979-0-0140-7893-5
SKU: 98-EP9856

More about this title

About the Composer: Carl Philipp Emanuel Bach

Carl Philipp Emanuel Bach (1714, 1788) was the most prolific and adventurous of J.S. Bach's sons. He spent nearly three decades as keyboard player to Frederick the Great in Berlin, a position that shaped his compositional voice toward expressive, harmonically daring work that bridged the Baroque and Classical eras. His keyboard music and chamber works remain central to understanding eighteenth-century style and musical rhetoric.

C.P.E. Bach's approach to violin sonatas reflects his reputation for emotional range and structural innovation. Where his contemporaries often treated the keyboard as accompaniment, Bach wrote for harpsichord as a true dialogue partner. These works demand sensitive, thoughtful performers and reward careful attention to phrasing and affect.

Why we love this

This G minor sonata places you squarely in the world of expressive Baroque chamber music without overwhelming technical demands. The keyboard writing is idiomatic and engaging, making it equally rewarding for piano students tackling Baroque reduction as it is for violinists exploring the riches of the galant style.

What to expect

Intimate and searching. The G minor tonality carries a contemplative quality that never tips into melancholy. Dialogue between violin and keyboard unfolds with the conversational ease of written-out improvisation, with unexpected harmonic turns and moments of genuine surprise. This is music that asks you to listen closely to what your partner is doing.

Who it's for

Intermediate to advanced violinists seeking authentic Baroque chamber repertoire that demands musicianship beyond technique. This sonata pairs well with piano students ready for Baroque keyboard work, making it ideal for coached studio lessons or recital collaboration. It suits ensembles building knowledge of pre-Classical German keyboard music.

How to get the most out of it

  • Shape phrases around the harmonic language rather than squaring them into symmetrical units. C.P.E. Bach's syntax rewards flexibility at cadences and breathing points.
  • Lean into the minor tonality with warmth, not darkness. Allow dissonance to speak without rushing past it.
  • Coordinate articulation between violin and keyboard early. The keyboard figuration will either support or blur the violin line depending on how cleanly both parts articulate together.
  • Explore the Edition Peters editorial choices carefully. Make deliberate decisions about ornaments and fingerings rather than playing them by default.

How to use it

Nestle this into a recital exploring the Bach family legacy, pairing it with works by Wilhelm Friedemann or J.C. Bach for historical context. It also serves beautifully as a bridge between Baroque and Classical in a concert tracing keyboard music across a century. The forty-eight-page score allows programming it as either a full sonata or in selected movements depending on concert architecture.

Skills your students will build

  • Baroque phrasing and rhetorical shaping in galant style
  • Reading and responding to keyboard figuration in dialogue
  • Interpretation of figured bass reduction and realization
  • Ornamentation practice within the galant aesthetic
  • Harmonic listening and voice-leading awareness
  • Stylistically informed vibrato and articulation choices

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