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19940733
19940733
19940733

J.S. Bach: Six Cello Suites for Flute

Transcribed and Edited by Amy Porter

By Johann Sebastian Bach

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Woodwinds Flute(s)
Transcribed and Edited by Amy Porter. Composed by Johann Sebastian Bach (1685-1750). Edited by Amy Porter. Arranged by Amy Porter. SWS. Back To School. Performance score. With Standard notation. Carl Fischer Music #WF160. Published by Carl Fischer Music (CF.WF160).

Item Number: CF.WF160

ISBN 9780825893568. 9 x 12 inches. Transcribed by Amy Porter.

The Six Suites for Unaccompanied Cello are some of the most frequently performed and recognizable solo compositions ever written. Master flutist and teacher Amy Porter has meticulously transcribed these pieces for performance on her upcoming CD. She has kept the integrity of the original Bach masterpieces while making them more idiomatic for the flute. These pieces are appropriate for teaching and performance, and are now available in this wonderfully newly edited collection. Simply a must-have for any serious teacher or student.
It has been my practice to teach the solo music of Johann Sebastian Bach to my flute students unrelentingly. They benefit from the form, implied harmonies, and the complicated yet simple nature of the musics technical content. They learn the broad spectrum of Bachs works and are transformed as musicians after working within his repertoire. Flutists have only the Partita in A minor to proclaim as a solo work written authentically by Bach for the flute. Flute teachers often use melodies of Bach from other sources as a means of drawing students closer to his mastery and genius. My experience with teaching Bach and playing his chamber music is deeply influenced by the brilliant mind of my flute teacher Samuel Baron and his Bach Aria Group. Other influences include listening to masters of the transverse flute, keyboard, and strings. Originally considered technical studies for cello, the Suites BWV 10071012 were transcribed by Bachs second wife Anna Magdalena. They were written for the cello, tuned naturally for Suites IIV, and in scordatura (with the A-string tuned down to C) in Suite V. Suite VI was believed to have been written for the fivestring piccolo violoncello, 7/8 the size of a normal cello. The Suites are performed in bass clef in G and tenor clef in C by the modern four-string cello. We can also see that this cycle of Suites follows a structure of movements that shows symmetry in form throughout the entire oeuvre. Overlooked until the early 1900s, the Suites found new life when cellist Pablo Casals drew attention to these important works, securing the high regard of all musicians. This edition of Bachs Cello Suites provides flutists an opportunity to view the scores structure and form with minimal editorial markings. Contemporary flutists can now add the passion and drama of Bachs solo music for cello to their repertoire and further their growth as musicians. I began learning the Cello Suites at the suggestion of Boston flutist and cellist Tim Taranella, playing from the edition in treble clef given to me by Professor Paul Meisen. In 2005, Professor Meisen and I both served on the jury of the Kobe International Flute Competition, where he delivered a lecture in German, translated into Japanese, on the Bach Partita and Cello Suites. His lecture compared the two works and offered a contrasting cello performance of Bachs Partita in A minor. Mesmerized by Professor Meisens 2005 lecture, I began the journey of learning the Cello Suites.

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