Classical Guitar Midi Archives - Bach.
The Six Cello Suites by J.S. Bach Analysis & interpretation A new insight into their history. Harmonic Analysis of Preludes 1 & 3 of the Bach Cello Suites. Prelude for Cello Suite No.1 (JS Bach) TablEdited by Chief Noda, www.chiefnoda.com Page 1 / 8 T A B 0 2 2 0 2 2 2 2 0. If you use and like Free-scores.com, thank you to consider support donation.
Georg Mertens - The Bach Cello Suites. CELLO & CLASSICAL GUITAR TUITION for beginners and advancedin Katoomba and Mudgee ph.
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CONTENTS: THE EDITIONS OF THE 6 CELLO SUITES IN HISTORICAL ORDER - 8. Bloc Party Four Rar Zip Mac. Editions from 1. 72. FIRST EDITIONS OF THE CELLO SUITES for OTHER INSTRUMENTS (click here)The Manuscripts (click here)Considerations.
The oldest manuscript by Kellner The manuscript by Anna Magdalena Bach - Was Anna Magdalena the Writer of the Suites? Manuscript C - Manuscript D Lost Manuscripts The Prints (click here) The . The original has been lost. Johann Kellner. Title: Sechs Suonaten pour la Viola de Basso Kellner was a friend of Bach, a flautist and organist. Therefore his bowings give rather a sense of phrasing and are inconclusive when used as bowing instructions.
Suite 5 is written in this manuscript for standard tuning, which hints to an existing edition in standard tuning, because we can't assume, that another person than a cellist would be able to understand the jump at the correct notes considering position play. Also, he did not finish Suite 5. He started for a few bars the Sarabande, stopped and left out the Gigue altogether. I assume Kellner noticed, that the he had seen the Sarabande and Gigue before, which Bach also used for the flute suites.
Anna Magdalena Bach. Title: Suites a violoncello senza basso. Anna Magdalena's manuscript is regarded as possibly the closest to the original, obviously because she must have copied it from the original. Certainly regarding the notes her copy must be the closest to the original.
- Notes These editions were edited based on the manuscripts of Johann Peter Kellner, Anna Magdalena Bach and the arrangement for lute solo by J.S. Bach himself.
- Notes Staatsbibliothek zu Berlin (D-B): Mus.ms. Bach P 1055. This score includes Violino Concertante part for Ouverture and Air. The origin of the Violino.
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- The Classical Guitar Midi Archives - Bach contains a wide list of classical guitar music files from Bach.
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Unfortunately she was not familiar of the inner logic of a string players' bow technique. As demonstrated by her copies of the violin Sonatas & Partitas - where we have Bach's original - she miscopied frequently whole passages of bowings. We have not to forget, that Anna Magdalena did the copying in her . Then we need to extend these patterns undisturbed by contradictions. Naturally it remains very difficult to interpret what is meant - and what is not meant. Also, Anna Magdalena's copy looks already back on a certain time span of experience with musicians having played the Suites.
Especially in the Prelude of Suite 1 we can discover a conscious moving away from the standard bowing of 3 slurred to a more complex pattern. This complex pattern works as written. Therefore I assume, J. S. Bach must have supervised the copying and instructed her to change the bowing due to him not being happy with the sound of the . Maybe her bowing of Prelude 1 can be seen as a second original draft of Bach.
C', author unknown. Title: Suiten und Preluden fur das Violoncello This is the first copy of a cellist. We can play through this copy and it all makes sense - if we share the interpretation or not. This copier lived historically already not anymore in the Baroque period, in which performers added ornaments according to their taste or to tradition.
In his manuscript the editor included the ornaments, which were traditionally played and regarded as being correct and belonging to a stylish performance. He must have felt that performers of his time would leave out the proper ornaments, when he wouldn't write them in. Therefore this copy gives us an important inside of Baroque performance. We can compare Anna Magdalena's copy without the ornaments and seeing in his copy, where they would have been played already in her time, although they were not written in. This is especially so in the Sarabandes.
D', author unknown. Title: 6 Suite a Violoncello Solo This copy is similar like manuscript . As in manuscript . The four manuscripts above are the only known sources from before 1.
J. S. Bach (see also . There are also no fingerings in nor any signs, that they have been used. That is why they have survived in excellent condition without any wear and tear. Cellists must have used first the lost manuscripts plus hand copies of these and used later the prints after enough different prints reflecting all kinds of interpretations had been printed (see CONCLUSION for more details). Norblin), publisher: Janet de Cotelle, Paris. Title: Six Sonatas ou Etudes pour le Violoncelle Solo Often called 'the first printed edition'. To call this edition the first is not a secure fact, but rather an assumption and also a dedication - a kind of Romanticism - to the story, that the great cellist Pablo Casals found this edition in a second hand shop and was later responsible for making the Suites known to a wider audience outside Germany.
The Baerenreiter Urtext Edition includes a copy of this publication. In a way this is unfortunate. The edition lacks cooperation between editor and publisher; it is impossible to play the movements through as they are.
Every few lines one gets stuck in the wrong bow direction. Obviously the publisher had no idea of the inner logic of bowings, which are different than phrasing, and didn't bother to check with the editing cellist. Dotzauer learnt composition from Ruettinger, who was a student of Kittel, a Bach student. He certainly had access to direct information and understanding, had several manuscripts to choose from, as he lived in the same town as Bach and was only two removes from Bach as a composition student. Also, he must have kept an eye on the whole production as we can play through the Suites and it all makes sense from a players point of view. I wish Baerenreiter would have published this edition as it would be by far the more interesting one. It also points clearly to further manuscripts, which have been lost and are different to the four known ones.
I got hold of the Prelude of Suite I from the 1. Breitkopf (Breitkopf's edition is same edition as the prior Probst, which was virtually simultaniously published as Cotelle's edition). Friedrich Dotzauer, publisher: H. A. Probst, Leipzig. Title: Sechs Sonaten (see comment above)& 1. Breitkopf, Leipzig.
Kistner, Leipzig 1. Breitkopf, Leipzig. Breitkopf, Leipzig& 1.
Guiseppe Magrini - Dotzauer, publisher: Ricordi, Milan. Walter Schulz - Dotzauer, new Ed. Richter, Petersburg.
Friedrich Gruetzmacher, publisher: Peters, Leipzig. Title: Six Sonatas ou Suites pour Violoncelle seul Suite 1 increased slurring in the Prelude Suite 6. G major& c 1.
Friedrich Gruetzmacher 'Concert Version', Peters, Leipzigc 1. Concert Version 2nd Ed. Peters, Leipzig. 18. Alfred Doerffel (Bach Gesellschaft), publisher: Breitkopf, Leipzig. Alwin Schroeder, publisher: Kistner, Leipzig.
Norbert Salter, publisher: Simrock, Berlin. Robert Hausmann, publisher: Steingraeber, Leipzig& 1. Hausmann revised by Walter Schulz, Steingraeber, Leipzig To my knowledge the first edition with B natural in bar 2. Prelude 1 - corrected by the owner of the copy back to Bb! Julius Loeb, publisher: Constallat, Paris& 1.
Loeb new Ed., Constallat, Paris 1. Julius Klengel, publisher: Breitkopf, Leipzig& 1. Julius Klengel, new print, Breitkopf, Leipzig- NOTE: of the 1. Leipzig and only 4 in other cities - 1. Jacques van Lier, publisher: Universal Edition, Wien. Wilhelm Jeral, publisher: Universal Edition, Wien.
Hugo Becker, publisher: Peters, Leipzig. Title: Sechs Suiten (Sonaten) fuer Violoncello solo & 1. IMC, New York 1. 95.
Peters, Leipzig& 1. Percy Such, publisher: Augener, London (1st UK)1. Cornelius Liegeois, publisher: Lemoine, Paris.
Paul Bazelaire, publisher: Max Eschig, Paris& 1. Max Eschig, Paris 1. Paul Kurth, publisher: Drei Masken, Wien. Luigi Forino, publisher: Ricordi, Milan. Wilhelm Jeral, publisher: Muztorg, Moscow.
Diran Alexanian, publisher: Salabert, Paris. Includes for the first time the facsimile manuscript by Anna Magdalena Bach.