I’ve noted instrumental versatility in Bach’s day, and my own delight in playing the cello suites on violin—when some of the solo violin suites and partitas are either over-familiar or lastingly and ridiculously unplayable, unless you’re Andrew Manze or Rachel Podger. Which I’m not.
While Bach didn’t specify the solo instrument for the Benedictus of the B minor mass, it’s more often played on flute than on violin. Anyway, I’m thrilled to find a new Bach solo piece to play on violin—the exquisite flute partita, whose original function (despite the usual splendid musicological sleuthing—good old watermarks, eh!) seems unclear (like I care). Its opening Allemande [note to self: blimey, “Allemande“ seems to subsume a range of styles?] seems rather similar to the final movement of the A minor violin sonata, which I’ve been playing with varying degrees of ineptitude for fifty years. Whereas some pieces have a lasting association with the ideals of our teenage years, novelty can also go a long way: never mind ridding ourselves of the patina of romantic performance practice, it’s hard enough divesting myself of my own personal history of playing Bach as a teenager.
So up to now, whenever I need a preludial solo in A minor (and let’s face it, who doesn’t, sometimes?), then I love playing the opening of the second cello suite—which comes out in A minor on the fiddle. I even played it for my father’s funeral, which was virtually the only thing I ever did for him [bit late—Ed.].
Such instrumental borrowings would have been routine in Bach’s time, but I haven’t heard any fiddlers trying it out. This version on archlute eschews the usual virtuosity of flautists for an introspection more typical of the Allemande: