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As a recorder and traverso player, J.S. Bach’s works form a crucial part of my repertoire. They include some of the most technically advanced music written for the recorder, in which the instrument seems to be pushed to its limits. Meanwhile, the traverso is welcomed into the orchestra, and it has come to stay. In order to understand the many problems surrounding the recorder and traverso parts from Bach’s music, I need to know how Bach used each instrument specifically. And to be able to make the right artistic choices, I need to know why he chose the recorder for one composition, and the traverso for the other. In answering these questions, I have used my experience in playing both woodwinds to my advantage. My journey has led me through an analysis of terminology, tessitura, symbolism, clefs and pitch surrounding Bach’s flute parts. And for context, I have compared Bach’s use of the recorder and traverso with that of his contemporaries. With my research, I present an overview of the characteristic differences between the two instruments in Bach’s music, giving my own artistic view on some of the unsolved mysteries surrounding Bach and his use of flutes.
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Blast die wohlgegriffnen Flöten
Understanding and comparing J.S. Bach's use
of recorder and traverso
Dante Jongerius
5th of March, 2025
Royal Conservatoire The Hague
Master Early Music Traverso
Student Number: 3001442
Research supervisor: Wouter Verschuren
Master Circle leader: Kathryn Cok
Chosen format of documentation: Exposition