Sonata in B minor for Flute and Harpsichord, BWV 1030

This is no ordinary edition of Bach's B minor Sonata. This is a luxurious, beautifully presented facsimile edition of the autograph manuscript from the Staatsbibliothek in Berlin, Mus.ms.Bach P975.

Printed on high quality large paper, one senses a huge amount of care and respect in the pages of this publication. The detailed introduction, written by Yo Tomita, provides context on both the work and its sources. This particular manuscript is Bach's attempt at a fair copy in his own hand, but as the text explains, there are small corrections here and there. The introduction summarises the extant scholarship on the work and provides references for further reading. These notes tell us what is known for certain, and what theories have been put forward by different scholars in recent years. The level of detail provided about the provenance of the manuscript is fascinating, and like any historical musical investigation, the knowledge we have through scholarship raises many new and enticing questions to continue the investigation further.

The autograph manuscript has a score and a separate flute part (in different handwriting), and both are included here. This is a colour edition, which means that the manuscript is presented as a true likeness to the original, serving as a fantastic resource for performers as well as preserving a form of the manuscript for longevity. These are performance materials, designed to be played from, and this edition means that it is entirely possible to do so. While handwritten scores are notoriously difficult to read in our modern age of computer typesetting, there is something quite remarkable about playing this work from a score handwritten by its composer; it's humbling to consider that it's 300 years old. The page turns are impressively considered, and the handwriting is surprisingly legible. The printing is excellent with a good level of contrast to ensure everything can be read. Perhaps it takes a little more effort than a modern edition, but it's well worth it.

This is one of the most exciting and impressive flute publications I've seen in a long time; there's something very special about being able to feel close to our history in this way. While digitised versions of manuscripts can often be found online, it would be a challenge to create performance materials from them to the level of quality and practicality of this publication. The detailed scholarship shared in the introduction is also something one could not get elsewhere. This is a luxury item, but one that is a fantastic addition to any flute player's library.