Betty Bang Mather and Dean Karns have produced THE definitive edition of this Bach classic. Not just for flutists! This is a treatise on Bach’s forms, dance models, and musical poetry, providing broad insights into his other overtures, suites, and partitas. Bach’s monument of the flute repertoire is newly revealed in this unique combination of critical edition and performance edition, with informed insights into the dances that inspired Bach’s rhythmic ideas and phrasing. The publication includes Bach’s authentic flute part, and an elegant keyboard accompaniment. It also features a thorough analysis of the poetic, rhetorical, concerto, fugue, and harmonic structures, labeled according to late Baroque practices. Bach’s choreographic influence made visible with rhythmic examples of Gavotte, Sarabande, Bourrée, Polonaise, Menuet, and other steps that can be danced to opening phrases. Other gems in this edition include a complete facsimile of Bach’s handwritten flute part, typical examples of the Baroque passions and affects essential to 18th-century expression, and much more!

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Text on the back cover:

Not just for flutists! A treatise on Bach’s forms, dance models, and musical poetry, providing broad insights into his other overtures, suites, and partitas.

Bach’s monument of the flute repertoire is newly revealed in this unique combination of critical edition and performance edition, with informed insights into the dances that inspired Bach’s
rhythmic ideas and phrasing. The publication includes:

· Bach’s authentic flute part, and an elegant keyboard accompaniment.
· A thorough analysis of the poetic, rhetorical, concerto, fugue and harmonic structures, labeled
according to late Baroque practices.
· Choreographic influence made visible with rhythmic examples of Gavotte, Sarabande, Bourrée,
Polonaise, Menuet, and other steps that can be danced to opening phrases.
· A complete facsimile of Bach’s handwritten flute part.
· Typical examples of the Baroque passions and affects essential to 18th-century expression.
· Poetic oratory in the top voice based on the sung orations in Lully’s operas.
· Flute syllables and string bow strokes

· Realizations of Bach’s ornaments.

BETTY BANG MATHER taught flute at the University of Iowa from 1952 through 1996 and for a few years team-taught a class in Baroque performance practices. She studied flute with Henry Zlotnik, Harry Peters, Arthur Lora, William Kincaid, Gaston Crunelle, Jean-Pierre Rampal, and Roger Mather, and traverso with Gustav Scheck. She has lectured, performed, or had work published in the United States, England, France, Germany, Switzerland, The Netherlands, Japan, China, Taiwan, Australia, New Zealand, and Argentina. Her books and editions include Interpretation of French Music from 1675 to 1775; Free Ornamentation in Woodwind Music with David Lasocki, The Classical Woodwind Cadenza with Lasocki, The Art of Preluding with Lasocki; Dance Rhythms of the French Baroque with Dean Karns; The French Noel: With an Anthology of 1725 for Two Flutes with Gail Gavin; and Bach’s Partita for Solo Flute, with Emphasis on the Allemande with Elizabeth Sadilek.

DEAN KARNS taught music theory and mathematics at Coe College, Cedar Rapids, Iowa, from 1960 through 1999, serving for eight years as music department chair and ten years as college registrar. From the early 1970s until his retirement, he was harpsichordist with the Coe College Baroque Chamber Ensemble. He studied organ with Margaret Snodgrass Mueller, organ and harpsichord with Francis Hopper, and Baroque dance with
Edna Dieman and Julia Bennett. In the early 1980s, Dean and his Baroque dance partner Helen Chadima choreographed excerpts of this Overture-Suite to a preliminary version of this arrangement, which they danced many times in mid-America accompanied by
Betty Bang Mather (traverso), Sven Hansell (harpsichord), and various gamba players.

Overture - 1. Grave (prologue)
Overture - 2. Vite (intrigue)
Overture - 3. Lentement (epilogue)
4. Rondeau
5. Sarabande
6. Bourrées I & II
7. Polonaise & Double
8. Menuet
9. Badinerie