This baroque style composition, like so many of that period, actually derived from another work. The composer had written a work for unaccompanied bassoon, which was dedicated to Robert Ronnes. He then transposed it to another key and added some double-stops, and it thus emerged as a partita for unaccompanied double bass. However, despite his great love for the cor anglais, Cavallaro hesitated. Such an arrangement would obviously be somewhat more difficult due to the smaller range of that instrument. Nevertheless, with minimal revisions to the score, the entire suite emerged – quite successfully, according to Kyoko Hida-Battaglia, an English horn player in the USA. Of course, Bach did not write solo works for cor anglais, but given that composer’s wonderful music for various members of the oboe family, the instrument surely lends itself to such repertoire. Let us hope that this piece will inspire other composers to follow suit! (Phrasing and dynamics are left to the players discretion)