[CLASSICAL MUSIC] Bach's Enchanting Orchestral Suite for Solo Flute

The concertos and suites were the two central genres of orchestral music in Bach's time. Johann Sebastian Bach (1685-1750) experimented with both but in different proportions: there are about twenty preserved concertos but only four orchestral suites. This reflects the fact that the suite was slowly disappearing as a genre to be replaced by the serenades and divertimenti of the classical period. The concerto on the other hand was still a rather new genre, heading for a flourishing future.

The original manuscripts to Bach's orchestral suites have not been preserved and the opinions on when they were written differ. Although, there are fragments that suggest they were written during Bach's Leipzig years (1723-1750), where he from 1729 led the orchestra Collegium Musicum founded by his friend Georg Philipp Telemann.

Suite No. 2 in B minor

Regarding the dating of the suites, there is a broad consensus that the B-minor suite in its final form is the latest of the four. Fragments from 1738-39 exist and among them are the flute and violin parts in Bach's own writing. According to recent research the suite was apparently originally written in A minor for solo violin, strings and continuo. There's also alternative theories about the background of the work: according to one theory, the original solo instrument of the suite would have been oboe, and according to another it would be possible to play the A minor version on flute with only small changes.

The B minor suite is the lightest and airiest of Bach's orchestral suites, not least due to its size in terms of musicians. Beyond the strings and continuo there's only a solo flute. The flute takes a prominent role in the fast-paced section of the overture, in the second Bourrée, in the double-section of the Polonaise and especially in the virtuoso section of the Badinerie, which belongs among the most famous music in Bach's production. It has been assumed that Bach would have written the work (or its flute version) for the French flute virtuoso Pierre-Gabriel Buffardini, who was employed at the court in Dresden. The Sarabande and the Minuet reveal that Bach has taken a lot of influence from Italy, not least Vivaldi and his concerto style.

Bach's goose quill hasn't written a single note in almost 270 years, but his compositions feel as current as ever. This is secular, pure and absolute music written to entertain and delight, as opposed to the church music which was the lion's share of Bach's production. There is something enchanting and irresistible in this music that constantly marvels and amazes. Enjoy the stellar performance below by the Dutch conductor, organist and cembalist Ton Koopman and the The Amsterdam Baroque Orchestra.

 

 @SteemSwede

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On Bach's Fourth Brandenburg Concerto