One of the Netherlands Bach Society musicians, the Dutch flautist Marten Root performs Johann Sebastian Bach’s Flute Partita in A minor, BWV 1013. Root performs on a traverso built by Fridtjof Aurin after Pierre Naust, ca. 1700. This performance was recorded for the project All of Bach on November 28, 2015, at the Oude Dorpskerk, Bunnik.
Johann Sebastian Bach’s Flute Partita in A minor, BWV 1013
The Partita in A minor for solo flute, BWV 1013, by Johann Sebastian Bach, is a masterwork of Baroque music that showcases the flute’s expressive and technical capabilities. Composed after 1723, as evidenced by its demanding technique surpassing that found in the flute part of the Fifth Brandenburg Concerto, this piece stands as a testament to Bach’s maturity as a composer. The exact date of composition remains uncertain, but it likely falls within the early Leipzig years, suggested by the sophisticated playing techniques and the involvement of “Anonymous 5,” a copyist known to have worked with Bach around the time of his move from Köthen to Leipzig.
This Partita is unique not just for its musical content but also for its historical manuscript, which was believed to be an autograph by Karl Straube and later identified as the work of two unknown copyists from the early 1720s. One of these copyists also contributed to the manuscript containing the violin sonatas and partitas (BWV 1001–1006), linking this flute Partita closely with Bach’s other solo instrumental works from this period.
Despite its title being a later editorial addition, the original manuscript titled “Solo p[our une] flûte traversière par J. S. Bach” underlines the work’s intended solo performance. The Partita is structured in four movements—Allemande, Corrente, Sarabande, and Bourrée angloise—each embodying distinct characteristics of Baroque dance forms and collectively exploring a wide range of emotional and technical landscapes.
This Partita not only provides a deep insight into Bach’s compositional genius but also offers performers a rich platform for interpretative expression, demanding a high level of mastery over the instrument. It remains a cornerstone of the flute repertoire, celebrated for its beauty, complexity, and the light it sheds on the Baroque period’s solo instrumental music.
Movements
With start times in the video above:
- Allemande [00:00]: The Allemande is a gentle and flowing introduction to the Partita, characterized by its intricate melodic lines and the subtle interplay of rhythm and phrasing. It requires a high level of technical skill to navigate its complex ornamentation and articulate the underlying emotional depth.
- Corrente [05:36]: This movement is lively and agile, marked by its rapid passages and buoyant rhythms that mimic the Italian “Corrente.” It showcases the flute’s capabilities for swift articulation and demands precision and clarity from the performer, embodying a joyful and spirited dance.
- Sarabande [08:35]: The Sarabande is deeply expressive and contemplative, with a slower tempo that allows for expansive melodic development. It stands out for its emotional intensity and the use of space and silence to create a profound sense of longing and introspection.
- Bourrée Angloise [12:28]: Concluding the Partita, the Bourrée Angloise is energetic and robust, characterized by its distinctive rhythmic drive and lively character. It provides a stark contrast to the Sarabande, ending the suite on a note of vitality and exuberance.
Sources
- Partita in A minor for solo flute (Bach) on Wikipedia
- Partita in A minor, BWV 1013 (Bach, Johann Sebastian) on the International Music Score Library Project website
