I’ve noted instrumental versatility in Bach’s day, and my own delight in playing the cello suites on violin (see also here, and here)—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: