Abstract
Many composers during the Baroque era were influenced by dance. Johann Sebastian Bach proved to be no exception, as his only solo work for flute, the A Minor Partita or BWV 1013, comprises four movements titled after dances: the allemande, corrente, sarabande, and bourrée. However, only recently have the instrumental forms been compared to the dances that inspire the shared namesake, and more importantly, to the characteristic features of these dances that pervade the music. This essay will provide a specific knowledge of the history, physical movements, and Affects associated with the Baroque dance forms that comprise BWV 1013 and relate this information to a performance of the work. The first portion of the essay will begin with a historical overview, discussing the Ancien Régime’s influence throughout Europe during the eighteenth century, with special attention given to French aesthetics transplanted to German courts. This document will also provide a brief description of French noble dance and highlight its influence in social, theatrical, and purely musical settings. Following this, contemporary sources such as Johann Kirnberger’s Recueil d’airs de danse caractéristiques, Johann Mattheson’s Der vollkommene Capellmeister, and Johann Joachim Quantz’s Versuch einer Anweisung Die Flöte traversiere zu spielen will be interpreted to stress the intimate understanding of dance utilized by composers and performers during the Baroque era. The second portion of this essay will examine the history of the solo for flute, discussing authenticity and a hypothesized composition date for the work in alignment with J. S. Bach’s life. The last section will define the Affect, choreography, and characteristic features of each dance referenced in BWV 1013 with suggested applications of this knowledge pertaining to tempi, articulations, dynamics, phrasing, areas of rubato, or use of a similar Affect during a performance of the work.