Conclusion

Although the previous chapters have focused on important exceptions, a clear pattern can be drawn from the analyzed materials, summarizing the characteristic differences between the recorder and the traverso:
Parameter Recorder Traverso
     
Terminology Flauto Traversa
     
Clef notation French violin clef Treble clef
     

Pitch

 

 
  • Mühlhausen
  A-1 (hoch-Cammerton)  
  • Weimar
  A-2 (tief-Cammerton)  
  • Cöthen
  A-2 (tief-Cammerton)  A-2 (tief-Cammerton)
  • Leipzig
  A-1 (hoch-Cammerton)  A-1 (hoch-Cammerton)
 
    
Tonalities
 F major, B♭major, G minor D major, G major, B minor
     
Typical tessitura f1-g3 d1-g3
     
Orchestration Mostly two recorders Mostly one traverso 
     
Symbolism Death (bells) and the pastoral The pastoral and war

 

This research has shown me Bach’s use of flutes and therefore his opinion on the strengths and weaknesses of both the recorder and traverso. I now know when a certain note, tonality or orchestration is truly exceptional for the instruments I play. I have learned which instrument I ideally want to use for each of Bach’s compositions. And I have seen that Bach, although he had strong associations with the recorder, did not oppose to using the traverso for similar symbolic gestures, when the latter had gained in popularity. This inspires me to also value and perform the many later versions Bach made of his compositions, in which the recorder was often replaced by the traverso. 

 

If I had known more about the historical context of Bach’s compositions for flutes when I entered the conservatoire, I am sure that I would have focused more at playing at historical pitches during my studies. Now, I will continue developing my findings and ideas regarding Bach’s flute parts in a more practical sense. In order to realize this, I have the following goals for the near future:

 

  • Aqcuire a recorder at 392Hz, with a good f♯3 according to Majer’s fingering, to play Bach’s composition from Weimar and Cöthen at a historical pitch.
  • Acquire recorders in g1, a1, d2 and f2 at 415Hz, to play Bach’s compositions for flauto and flauto piccolo from Leipzig in its historical context.
  • For my PIA (Professional Integration Activity), I have focused on applications for instrument funding. This has allowed me to purchase a traverso that also plays at 392Hz. With this instrument, I will be able to play the solo works for traverso from the Cöthen period at a historical pitch. I would like to acquire another left hand joint at A-1½ for this new flute, to compare the differences in sound.
  • Enter or create an ensemble that is willing to go through the logistical struggle of playing at more historical pitches, so that I can experience and learn from the resulting differences in sound. For example, the relation between the higher, more brilliant strings at Chorton and the lower, darker sound of the winds at tief-Cammerton in cantatas from Weimar.

 

I want to conclude with an expression of hope, that the solutions I have provided in this research are only temporary, as I continue to develop my taste and ear when it comes to performing J.S. Bach’s marvelous music for the flute.

 

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