A model for figured bass realization: 2nd moviment of the B minor Sonata BWV 1030 for flute and harpsichord obbligato by J. S. Bach

Abstract

This article presents a study about figuration of the chords from the Largo e Dolce of the B minor sonata for flute and harpsichord obbligato by J. S. Bach, from the perception that they are a thoroughbass composed by Bach himself. As a support we have worked on the instructions written by the composer on this subject twice, the first one in Anna Magdalena´s Notebook of 1725, and in The Precepts and principles for playing a thorough bass or accompanying in four parts, of 1738. Giving priority to the harmonic aspects found in the first work, we noticed a didatic view, and its application here shows us the great worth this had in the master´s work, in the same way that the relevance of melodic and phaseological aspects. We believe that this analysis brings elements for the interpretation of this and other passages in J. S. Bach´s music as well as for his contemporary composers.
Keywords: J. S. Bach; Figured bass; Harpsichord; Flute; Chamber Music; Analysis.