Bach BWV 1007 Gigue (Part 4 of 4)

Recorded live in concert 1 December 2007. J. S. Bach's six suites for unaccompanied cello seem most likely to date from around 1720, when he was working in Cöthen. In creating my transcription of BWV 1007 I have followed the manuscript copy in the hand of Anna Magdalena Bach. Works for solo flute from this period use arpeggiation and grace notes spanning wide intervals as a means of more clearly indicating the harmony, and taking that as a precedent I have preserved most of the arpeggiated chords of the original.

The flute is my reconstruction of the only surviving flute of Johann Heinrich Eichentopf (1678-1769), a Leipzig woodwind maker from whom J.S. Bach purchased instruments and with whom Bach apparently collaborated in developing the oboe da caccia. This solid ivory flute was altered, possibly as late as the nineteenth century, but in such a way that using reverse engineering and the surviving original dimensions, one can make a plausible recreation of the original. In general this flute preserves the proportions of a three-piece flute, and this may in fact be one of the very earliest examples of the four-piece type. Early eighteenth German chamber pitch was often very low: the flute plays at a=396. Due to modern restrictions on the use of genuine ivory, I have used a synthetic ivory substitute to make this flute.

Category:

Music

Tags:

• J.
• S.
• Bach
• cello
• flute
• traverso
• traversiere
• suite
• gigue

[iufiauto]

Thank you!

[C33Four]

This really is unbelievable. Great tone, interpretation, and just about everything (I also love the picture: very fitting and relaxing). This makes me want to look out the window and think about the great things in life: like the desire for musicians to play beautifully.

[recorderson]

a flute version that a find beatiful so as the original for cello