The concert was mainly solo performances. The first performance ‘Partita for flute in A Minor’ was amazing. The performance was based on the original ‘Partita for flute in A Minor’ by J.S. Bach. It is difficult to find partitas being played today except those by Bach. The genre for the four set of songs mainly include a series of dances that can be either slow or fast and are played by a single unaccompanied instrument (Kujala 76). The artist played the partita in four movements namely Allemande, Corrente, Sarabande and Bourrée angloise


Listening to the performance in the concert, I have virtually no clue about the circumstance through which the Partita in A minor was composed. However, there was a feeling of calmness among the people in the concert. When performing the 4 movements of the Partita for flute in A Minor, the flutist was left to his own ingenuity. It was clear that the performance was based on sounds and the feeling of the music rather than the written notes. The concert was a dance-suite proper that featured all the 4 movement of the Partita. The driving force of the performance was the remarkable blend of musical tones and the implied counterpoint.

The Music

As the lengthiest of the 4 movements, the allemande set the pace for the performance (LaBerge 150). The running sixteen notes not only outlined a binary design to the music but also tested the mastery skills of the flutist. While playing the music, there a clear leap from one register to the other as the flutist tried to make the music melodically plain. This type of playing helped portray and clearly bring out the harmonic voices upon which the music was written. The flutist used chromatically descending arpeggios to reach cadence in each of the two halves of the music.

Compared to the Allemande, the corrente seemed much livelier. The second movement of the Partita for flute in A Minor was not only a lively Italian-based variety, but also was played with a quick tempo and in simple triple meter. The corrente was played in the traditional ‘two halves’. The first half consisted of 22 bars while the second half consisted on 41 bars. The crowd cheered to the unexpected high D sharp that the flutist played towards the end of the first half. The flute does not leap but leaves the audience in the same register that is close to an E natural but is an octave lower

The third movement- sarabande- was also interesting since it portrayed a high level of flexibility in the flutist type of play. There was a change in tempo as this movement was played rather slowly compared to the first two. There was great expression in the matter in which this part of the partita was played. To me I viewed it as the artist trying to convey or express some personal information by using the piece.

The Bourrée Anglais was played as the last movement in the partita A minor (Marshall 496). As a concluding piece, it was more comforting. It seemed to wrap up all the other components of the partita A minor. It was played to counter the sixteen note passages found in the partita.

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