In Rostropovich's recording we can hear an unfamiliar repeat of 2 D's - last 1/8 of bar 22 / first 1/8 of bar 23. I circled the start of the bass line, a simple C minor scale beginning, before it returns to the tonic and moves freer (see below) We must also not forget, that the Suite is inspired by dances of different countries. Rhythmical dynamics (micro-dynamics, micro-phrasing): Manuscript C - Manuscript D without the single note sounding bouncing out.
Suite 6 can only be played by a very advanced student / amateur or a professional. The service on Sheetmusicplus is instant (may cost $1 or 2 more). How could he have made it clearer? Also, he did not finish Suite 5. In our aim to interpret - which means translating without using words - we need to explain all parts to the listener, so they can follow. It is also in character, speed and bowings the most diversely played movement. have been seen as finally irrelevant and were thrown away. The bowing should be the same as bar 1 - 6 etc. The slur meant to be for the 2nd and 3rd 1/8 shifted to one 1/8 to the right, creating the syncopated rhythm. Negatives: Anna Magdalena was not a string player. Cello Suite No 6 is written for a 5 stringed cello. When they study to express the feelings of their role they are told: how should the audience notice what you feel, when they can't see it? The copier was less tidy than "C" and less consistent. It does not make sense to me; the differences of the 3 sources appear to be disorganized in an unconvincing manner as if confused by miracle errors. It is surprising, that most of the implications of the "dynamic mapping" of the Baroque times and before still count today and are NOT written in. As to the bowings, all manuscripts share the same ideas, which we should take as meant to be:
1967 In order to capture the character the rhythm needs to be secure. The effect of that is that leaving the old string is so gradually that the bow does not stop it from vibrating. They included added notations, staves, overlapping lines, arrows and comments to show how they imagine Bach might have thought. Between 1727 - 1731 Bach transcribed the cello suite No 5 for lute (Lute Suite No 3), dedicated to Monsieur Schouster. The steps had of course a certain order The (circled) scale
With many Baroque composers like e.g. The title of the dance - setting the rules for accents - was written above. The middle D rises to E and then to F# in bar 2. The word "Gig" is used besides in music for "a thing that moves lightly", which can be a 2 wheeled vehicle drawn by horses, a light boat, a sledge or a bow on the string. From his liner notes, it is clear that Rostropovich loves this Sarabande and it shows in the performance. Gavotte I only provides a little relief from the rigors of the Sarabande; the music is abrupt, has multiple stops, and is highly angular. A simple and musical solution for bowing (here: Werner Icking / standard tuning): regularly (usually) a 1/4 per bow independent of note values, putting beat 1 & 3 on down bow and beat 2 & 4 on up bow. The lighter versions include Westphal, Beschi, and Bruns; some listeners would likely appreciate these three more than I do. By playing from her copy we need to move away from taking slur by slur literally, we must rather try to understand the messages of phrasing and bowings coming through in examples within the movement. Until today most editions are concerned with the balance of faithfulness and practicality.
Already at an early stage, copies were made of the Suites, as this was the custom of the time. The centre of the B-A-C-H theme is the Sarabande; it is used preparatory in the Courante and mentioned in the Gavotte and Gigue.
Living today in Australia, this movement reminds me of a Didgeridoo, one note rhythmically repeated with little break away notes, which are part of the natural harmonics. Although most historians believe that Anna Magdalena is the most reliable source as she must have copied straight from the original of her husband no edition before Gruemmer (1944) bothers about her bowing (Alexanian published in 1929 her manuscript, but he did not consider her bowings. (died 1619) left Hungary because of the prosecution of protestants.
Through the visual media many expect to see feelings. A little experience of mine: on the first two beats. The second set sitting one note higher and louder than the first set. manuscript "C" has been started by one copier and finished by a second one. I found it easy to play on any instrument by memory - like piano and guitar - except cello. bar 5 the repetitive figure is played softer. The version is less strict and seems to include the ideas in bowing and phrasing form the other manuscripts. Gavotte -
The main accent is on ONE. the heading of Prelude 1 reads: "SONATA" I !! We can only admire the amazing accuracy of notes and the peace and fluency in her writing considering the circumstances. - Bar 3: the bass B is resolved to C, jumping an octave lower necessitating the middle note G. The middle notes are sometimes just there, because on a string instrument we need to pass them in order to play the bass together with the melody. I believe, this is a very Romantic instruction, where dynamics were seen as an effect to get more applause from the audience, and not for the beauty of architecture.
Beethoven does it and even 21st century composers. 3) A dancer called" Zarabande" Most likely: Anna Magdalena's copy is correct in the notes, as she was an accurate copier. An autograph manuscript of this version exists as BWV 995. So far I've learned the entire first suite and am currently working on the C minor prelude.
There are 3 different versions as to its origin:
Most performers to today including Rostropovich, YoYo Ma, Maisky play still Bb). I find Ma I, Bylsma, and ter Linden relatively relaxed performances not sufficiently dynamic. We find this style, which appears here for the first time in the cello suites - perhaps prepared in some aspects in the second part of Prelude 4 - further developed in the introductory Adagio and Grave of the solo Sonatas 1 & 2 for violin. GAVOTTE 2.
It should be said, that the Alexanian edition printed the facsimile of Anna Magadalena in 1929 in a far superior reprint; the technical possibilities were certainly there to do a better job.
When I learned the Prelude I followed his performance very closely. This is not so.
Bar 23 - 31, always 2 slurred and one single note with a line on top; it is messy written (in a rush), but not unclear in what he meant. Vivaldi too often uses this build up pattern of a theme.
Today I find this statement very interesting. Part 2: Rhythmical Dynamics
Although I find the passage musically and technically as having only one option, many print editions are here a mess and fail to make sense.
We don't know the reason behind. These unknown manuscripts were more popular than our 4 known ones. But One of my favorites to play though. The most likely train of thought seems for me, that an enthusiastic performer did multiple copies (perhaps already from a copy), likely a well known teacher with many students;
. He knew the sequence so well we must exclude that he had used it accidentally. on the viola or viola pomposa (as my father played cello Suite 1 on the viola), as the pieces are very beautiful and he was master of the instrument. At this place I discovered the theme first, playing form the "sound / standard tuning" edition, not with the scordatura: because in the scordatura we read the wrong notes!