Johann Sebastian Bach (1685–1750)
Partita in a minor BWV 1013
The solo partita by Johann Sebastian Bach is one of the most technically demanding works for the flute. There are many questions surrounding the Partita. Almost nothing is known about their origins. A single copy has survived and it has two different handwritings. (From bar 19 in the Allemande the handwriting changes). Based on one manuscript, it is assumed that the “Solo pour une flute traversière par J. S. Bach” was composed in Köthen in the early 1720s. It is conceivable that he had a particularly accomplished flautist at this time.
The Partita is a dance suite.
The Allemande is intended to be a string section or a version for a keyboard instrument may have preceded it. This explains the difficulties this piece presents: First and foremost, the use of breathing. Often the last note of a phrase is also the beginning note of the next phrase. This problem changes the interpretation with each new study.
The most fascinating thing is the mix of melody and harmony, which is so important, especially in the first movement. The flute transforms into a harmony instrument and tries to audibly represent the different vocal ranges (soprano, alto, tenor, bass). With the help of articulation and a little agogic you try to represent the polyphony. A task that can only be partially successful, but never ceases to be exciting.
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