The manuscript by Anna Magdalena Bach. Mstislav Rostropovich called Suite No. Towards the end of his life his physical body deteriorated, but he was mentally acute until very near the end and he still took immense pleasure from music.
I recommend playing through the different editions. We must assume, that several cellists put their thoughts into how to play the Suites.
This manuscript here was by Kellner, the oldest manuscript. This is certainly the case for Anna Magdalena's manuscript. Firstly it seems that tradition counts. Bach how he wanted his suites played, which made the hereafter seem palatable, even desirable. Carl Phillip Emmanuel though indulges in details rather than the broad picture, and the suggestions in Anna Magdalena's copy would fit his style.
That there was no attention at all to her copy can be shown in that the first print to refer to the Bb in bar 26 of Prelude 1 - as in her copy - appeared inyears after her manuscript was written. A second possibility could have been, J. The idea certainly comes up, because today her manuscript is usually taken as the main source.
Also the cello Suites have at some places a different style than the Violin Sonatas and Partitas. Prelude Suite 6, manuscript "D" We can see the dynamic indications "po" for piano and "for" for forte. How unlikely Anna Magdalena would have gone against all evidence of experience by all people surrounding her, against her surely conscious shortcomings and then she would write a composition void of own style - in just her husbands style.
Like usual this applies mostly to the very first piece, Prelude from Suite 1. This gives us the opportunity to lengthen the first note as much as we like without experiencing a shortage of bow, which encourages to play out the introductory G - we know this introductory statement of the G by Pablo Casals although he used often the Hugo Becker bowing.
Most well-known cellists regard performing and recording the whole set as a milestone in their career. He goes not further than slurring piano passages and separating them in forte. We can see in the Gruetzmacher edition for the first time larger bow divisions, a preparing step to the Casals edition and finally 8 slurred by Becker.
Measures 9 through 10 introduce new material that, although seems to interrupt the music pattern, also completes the repetition of the harmonic progression.
Rather because the surviving 4 manuscripts had not been used for playing, they were preserved for us in good shape. But must admit, that at certain points a certain awkwardness in the bass melody lines seems to exist. Most early sources show the same bowing for bar 1 - 4.
As the range required in this piece is very large, the suite was probably intended for a larger instrument, although it is conceivable that Bach—who was fond of the viola—may have performed the work himself on an arm-held violoncello piccolo.
In her copies of the Sonatas and Partitas for violin she shows also, that she doesn't understand string bowings. Somehow he found his way back to C! Manuscripts "C" and "D" have rather survived, because they had not been used, and rested in unused collections - there is no sign of use like a fingering or corners missing.
Bach Solo Cello Suites are a pinnacle to be reached for any cellist. This is actaully muddled up in the Baroque period with phrasing bows anyway - not to mention that even Brahms, Beethoven up to Benjamin Britten have a habit to do that. The Prelude is written in an A—B form, and is a French overture.
When I was growing up I heard him practice them often, even though he had mountains of orchestral music to work on. And still everyone followed this mysterious copy of someone who does understand the cello and corrected it exactly in a manner which looks like Johann Sebastian would have written it!
These collectors collected whatever they could get hold of from composers they regarded as worth it. In bar 2 and 3 only the first note is single followed by a slur of two.
Anna Magdalena's copy is correct in the notes, as she was an accurate copier. Each edition will bring out different qualities. These kind of manuscripts can't be taken as a complete information. But must admit, that at certain points a certain awkwardness in the bass melody lines seems to exist.vi abstract the form of the preludes to bach’s unaccompanied cello suites may daniel e.
prindle, b.m., berklee college of music m.m., university of massachusetts amherst. Sample the final gigue of the Suite No. 2 in D minor, BWVand note the constantly shifting ways in which Ma pushes the jig rhythm without ever losing its basic pulse.
This is just one example of Ma's knack for embodying several levels of musical meaning in a gorgeous flow of lyrical effusion. One could go on, but the simplest way to sum up is to address newcomers to classical music: this is what it's all. As usual in a Baroque musical suite, after the prelude which begins each suite, The Cello Suites of Bach: History – Analysis – Detailed Interpretation – Program Notes – Audio – Video – Comprehensive analysis and notes on interpretation by cellist Georg Mertens.
Johann Sebastian Bach’s Six Solo Cello Suites are some of the most iconic classical music works. Mysteriously, unlike Bach’s Solo Violin Sonatas, the original manuscript to the Bach Cello Suites disappeared.
What remains is a hand-scribed copy by Anna Magdalena Bach, Bach’s second wife, but none of the articulations, slurs or intended dynamics were written down. vi abstract the form of the preludes to bach’s unaccompanied cello suites may daniel e.
prindle, b.m., berklee college of music m.m., university of massachusetts amherst.Download