Reviewed in the United States on December 31, 2002. 5 has but one unison chord (the same note played on two strings at the same time), but only in the original scordatura version of the suite; in the standard tuning version it is completely free of chords. Not perhaps a desert island disc, but one I will return to over and over, with great pleasure. "[25], "Cello Suites" redirects here. Edgar Meyer performs the Bach Cello Suites on the bass, unaccompanied, and the result is revelatory. --Edith Eisler. Only five movements in the entire set of suites are completely non-chordal, meaning that they consist only of a single melodic line. It then returns to the scale theme, and ends with a powerful and surprising chord movement. A different way of doing Bach's cello suites. His phrasing has a spoken quality; he builds up great climaxes and produces a wonderful resonance with the open strings, changing the Suites' tonality up or down a tone to fit the bass. Unaccompanied Cello Suites performed on double-bass. Until then, its repertoire consisted mostly of transcriptions, usually made by bassists themselves. For arrangements, new editions, etc. The movement opens with a notational and melodic feature of interest: Bach constructs the opening melodic material, essentially a spread out D Major arpeggio in eighth notes, by juxtaposing like pitches on adjacent strings, in essence using tone color variation to create parts of the melodic lines. The allemande is the only movement in the suites that has an up-beat consisting of three semiquavers instead of just one, which is the standard form. The Prelude consists of two parts, the first of which has a strong recurring theme that is immediately introduced in the beginning. Bach most likely composed them during the period 1717–23, when he served as Kapellmeister in Köthen. Yo-Yo Ma played this movement on September 11, 2002 at the site of the World Trade Center, while the first of the names of the dead were read in remembrance on the first anniversary of the attack. [3][4][5] Wilfrid Mellers described them in 1980 as "Monophonic music wherein a man has created a dance of God. These are the second minuet of Suite No. After viewing product detail pages, look here to find an easy way to navigate back to pages you are interested in. 6 Cello Suites, BWV 1007-1012 (Bach, Johann Sebastian) This page is only for complete editions and multiple selections from the collection here. The first and second bourrée of the third suite are sometimes used as solo material for other bass instruments such as the tuba, euphonium, trombone and bassoon. Reviewed in the United Kingdom on November 16, 2012. The most significant challenge is to clearly show the direction and connection of the various voices while presenting the beautiful harmonies in all their richness and glory. This D Major prelude is the longest and grandest of the 6 (in fact, everything in this suite is larger in scale compared to the other five suites), rich, full, extended in range and length, just plain big! When he said that he was partial to the Fifth Solo Cello Suite of J.S.Bach, I began a search for one. This is a powerful, soulful interpertation of Bach, and any technical sacrifices made, are not noticed in the delivery. Top subscription boxes – right to your door, © 1996-2020, Amazon.com, Inc. or its affiliates. Consistent with other gavottes, the movement is in duple meter (4/4, but felt in 2), and starts with a big 2nd-half-of-the-measure upbeat. Prom 68: Bach – Six Cello Suites, "J.S. The Prelude is written in an A–B form, and is a French overture. The six Cello Suites, BWV 1007-1012, are suites for unaccompanied cello by Johann Sebastian Bach. Not since I heard an 18 year old Robert Barney bring the music weary crowd to its feet in St. Moritz thirty years ago with a different collection of cello suites on the double bass have I been so awestruck. [16] His only cello-suite arrangement surviving is the one for Suite No. [22] Jarvis proposes that Anna Magdalena wrote the six Cello Suites and was involved in composing the aria from the Goldberg Variations (BWV 988). Jean-Guihen Queyras, cello, "Sigiswald Kuijken over de 'violoncello da spalla'", "J.S. All in all, this is a brilliant and exciting way to cap off the D Major suite and the set of 6 as a whole. This prelude is very driving and flowing throughout; the sense of motion established at the start continues throughout the movement. Reviewed in the United Kingdom on July 1, 2016. Take note of the dramatic climb up the cello to a high G (three octaves above the open G string! [14], Using the Bach edition prepared by cellist Johann Friedrich Dotzauer and published by Breitkopf & Härtel in 1826, Robert Schumann wrote arrangements with piano accompaniment for all six Bach cello suites. Hearing the Unaccompanied Cello Suites played on a double bass is subtly different; I would describe it as "broader" or fuller tone. 6 in D major is written for a five-string instrument, perhaps a cello piccolo, tuned E-A-D-G-C. The thrill of the Bach melodies played on such a deep and soulful instrument leave the listener moved. Incidentally, some research has indicated that Anna Magdelana Bach quite possibly penned some of Bach's music under his name - the Prelude of the G major Suite no.1 is amongst the major suspects, and certainly in my mind belongs to what I think of as the 'Ambient Bach' style (another suspect where similar originals have been found in AM's hand is the 1st C major prelude of the 48). [2] The Bach cello suites are considered to be among the most profound of all classical music works. I decided to keep it relatively brief with this video, and leave you guys … 5 in C Minor, for lute. Cellists playing this suite on a modern four-string cello encounter difficulties as they are forced to use very high positions to reach many of the notes. That said, I don't think I really heard the depth possible from these three Suites until I heard Edgar Meyer play them on the Double Bass. The only instance of chordal writing in the movement is very close to the end, before the final arpeggiated drive to the conclusion. Of Note: Suite No. among recordings deemed classics by Library of Congress", Program Notes: The University of Chicago Presents | Performance Hall | Logan Center.
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