SUITES No.1, BWV 1007 & SUITE No.2, BWV1008

It was common practice for Baroque composers to transcribe music they had written for one instrument to be played by another although, in the case of his 'cello suites, Bach seems not to have done so, leaving transcription to later arrangers who, using past practice as justification, readily made this outstanding music available to their chosen instrument. It was also not unusual to transcribe compositions for lower pitched instruments for those of higher pitch and vice versa, so transcribing the 'cello suites for flute is not as obtuse as it might seem. There are technical advantages as well because in Bach's 'cello writing there is much less double-stopping to be accommodated within the flute part compared to his solo violin music which would be a more likely candidate for transcription to flute.

Clare Southworth is the most recent composer and arranger to address the first two of Bach's 'cello suites. In her introduction, she mentions the points to consider in performing Bach's music and the problems which arise when transcribing string music for wind, particularly breathing. She has added suggested breath marks but advises that breaths should become part of the melodic line, allowing the music itself to breathe naturally. She hopes "....to give flutists the chance to ... enjoy some of the most beautiful, complex and challenging music ever written" and ends with "There is no 'right' way to play Bach, but I believe you should be truthful to the style, ...."

• Prelude
• Allemande
• Courante
• Sarabande
• Menuet 1
• Menuet 2
• Gigue
• SUITE No.2, BWV 1008
• Prelude
• Allemande
• Courante
• Sarabande
• Menuet 1
• Menuet 2
• Gigue

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