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Bach Partita A minor Flute solo BWV 1013
Johann Sebastian Bach's Partita in A minor for solo flute, actually entitled Solo pour la flûte traversière, is one of the undisputed gems of the flute repertoire. The work is extant in only one copy as autograph material of the composer has not survived. This raises a number of questions and problems which the present edition faces again not only in the preface and notes on interpretation, but also in the musical text itself. Due to the meticulous examination and assessment of all text details, the transition to the repetition of the second part in the Allemande, for example, is structured differently than in most established editions. The practical performance notes examine the musical text on the basis of practical sources of contemporaries of Bach as well as in accordance with the principles of musical rhetoric.
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Bach Partita A minor Flute solo BWV 1013
Bach Partita A minor Flute solo BWV 1013
Johann Sebastian Bach's Partita in A minor for solo flute, actually entitled Solo pour la flûte traversière, is one of the undisputed gems of the flute repertoire. The work is extant in only one copy as autograph material of the composer has not survived. This raises a number of questions and problems which the present edition faces again not only in the preface and notes on interpretation, but also in the musical text itself. Due to the meticulous examination and assessment of all text details, the transition to the repetition of the second part in the Allemande, for example, is structured differently than in most established editions. The practical performance notes examine the musical text on the basis of practical sources of contemporaries of Bach as well as in accordance with the principles of musical rhetoric.
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Description
Johann Sebastian Bach's Partita in A minor for solo flute, actually entitled Solo pour la flûte traversière, is one of the undisputed gems of the flute repertoire. The work is extant in only one copy as autograph material of the composer has not survived. This raises a number of questions and problems which the present edition faces again not only in the preface and notes on interpretation, but also in the musical text itself. Due to the meticulous examination and assessment of all text details, the transition to the repetition of the second part in the Allemande, for example, is structured differently than in most established editions. The practical performance notes examine the musical text on the basis of practical sources of contemporaries of Bach as well as in accordance with the principles of musical rhetoric.
