Bach's use of the Flute
probability is that both varieties of flute were played by the same performers. It has been suggested that the flutes and oboes were so played, but as they are frequently used together in the same piece, this cannot have been the case as a general rule, although undoubtedly many early flautists did also play the oboe.
Bach is fond of flute obligatos, and many (along with all varieties of voice, but chiefly with soprano) are to be found in these cantatas. Some of Bach's
Flute
Obligatos them are extremely florid and difficult, abounding in iterated notes and arpeggios. These obligatos are sometimes written for a single flute, sometimes for two flutes playing in unison or else playing independent parts. We often find two flutes and bass forming the sole accompaniment, whilst occasionally the organ alone Is combined with the two flutes. No. 170 contains an alto solo with a remarkable rapid obllgato on the flute and organ combined.
Bach often uses the flute to express the sentiments contained in the text. In No. 122 three flutes play a chorale (by Cyrlacus Schneegass) to represent Bach's
use of the
flute angels singing. In the cantata "O Holder Tag," at the words "Be silent, at the words "Be silent, flutes," they play weak, dying-away notes. He frequently introduces flutes when tears are referred to. Thus in the St. Matthew Passion, at the words "May the drops of my tears have agreeable perfume for thee," two flutes play passages like cascades of pearls.
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