J.S. Bach Sonata in E Major, BWV 1035

Johann Sebastian Bach is considered one of the greatest composers of all time, but during his lifetime, he was far more famous as an organist than as a composer. Interestingly enough, although Bach’s flute sonatas are central to the repertoire today, nearly a century passed before they were recognized. Sonata in E Major, BWV 1035 was written in either 1741 or 1747 for Michael Gabriel Fredersdorf, a flutist in the service of Frederick the Great.
The sonata is in the four movement slow-fast-slow-fast structure of the church sonata. Typically these movements are given tempo markings as titles rather than dance title. Breaking from that tradition, Bach names the third movement “Siciliano,” and two of the other movements have been thought of as dances: the second is a Rigaudon, and the finale a Polonaise.
The first movement is “Adagio ma non tanto”. It’s an elegant movement that consists of long, gentle arcs structured is a freely developing manner. With this first movement, the thematic development of the rest of the piece is laid out. Bach works out his variations in succession rather than using repeats and relying on the performer to improvise with embellishments.
The second movement, “Allegro”, is a Rigaudon, and completely unburdened and joyful. Its principal theme is so lively that Bach manages to make do entirely without divertimenti and allows the movement to develop in a completely songlike manner. The aria-like “Siciliana” brings a pastoral mood to the sonata with its dotted rhythms and lilting melody. The movement falls into three sections, each based on the same melodic germ. The opening theme of this extremely virtuosic final movement, “Allegro”, provides constant surprises and makes demands on the performer’s breath control and technical ability.

(Taken from All Music Guide and Hans Vogt)