If I had to give some extraterrestial being an idea of Bach's music, I am thinking I would make him hear the violin concertos. But some other day, maybe I'd choose quite a different thing from among his output. The problem for my election is that Bach, being a world complete in itself as he is, is in reality many worlds, a multiplicity of them. Which in turn is a consecuence of his having drinked in so many different sources in the multifacetic musical world that was perishing when he was young. But take no notice of me. Perhaps what I am saying without myself knowing it is that from among all instruments, the violin is supreme.
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Last edited by Enrique; 08-31-2013, 10:04 PM. -
Ahem. To demonstrate to those not of this planet the abilities and spirit of the human race I would play them 'cello suite n° 6 (or n° 4). The violin I would offer as a dessert.Originally posted by Enrique View Post -
Ever knew of the Dirian Alexadrian edition of Bach's suites for cello? The sixth is that written not exactly for violoncello. How do you play it, if you played it sometime?Comment
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I have never heard of Dirian Alexandrian I'm afraid. I learnt the sixth Suite on a classic four-string instrument, and difficult it is, without doubt. The CD I particularly like is with Anner Bylsma, using a 5-string violoncello piccolo (and therefore considerably easier because it involves fewer position shifts and fewer [if any] 'higher altitude' thumb positions).
Three links about this:
http://www.youtube.com/watch?v=monQOk72oK8 [5-string]
http://www.youtube.com/watch?v=eXWhlmU448Y [5-string]
http://www.youtube.com/watch?v=r9fpmgpNDwc [4-string]Comment
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Dirian Alexander was a pupil and colaborator of Casals, que lucro a expensas suyas en realidad. And edition of the 6 suites tiene las indicaciones de arco supposedly as Casals played them. I had a Peters edition (another one) but very unfortunately have lost it.
Do you know it can be played by lowering the 1st string (or raising it, one whole tone?)? Thanks for the links.Comment
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Another YouTube link to Anner Bylsma playing the Gigue from Suite N° 6 (on a five-string instrument):
http://www.youtube.com/watch?v=ComG_...6A29C2189B9DC6
To be compared to Steven Isserlis playing the same Gigue on a four-string instrument, though he does like gut strings!
http://www.youtube.com/watch?v=489gLp2VjGAComment
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OK, thanks for that info. I have never heard of lowering or raising any string for the 6th Suite; the 5th Suite, yes, certainly.Originally posted by Enrique View Post
I never saw the bowings that Casals indicated for the Bach 'cello suites, but I did study the ones Paul Tortelier made. I would dearly like to compare them with Bylsma's !!Comment
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Thanks a lot, Quijote, or Quijada, like others say you were called.Originally posted by Quijote View PostComment
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Beg your pardon. It was a lapsus mentis. As a cello student never having got beyond the 4th grade in the conservatory, I liked to play no.2, relatively easy among the six. Never was pleased with the interpretations I've heard of it. I think, in things like preludes, in the suites, more use should be made of dynamics.Originally posted by Quijote View PostComment
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The Bach 'Cello Suite preludes are always 'problematic' in that - being less dance-like - they seem to offer a more closed interpretation, so to speak; they seem, absurdly, to be études, a way of practicing some given techniques. On the other hand, the implied two-part writing (suggesting clear harmonic progressions) gives us the clue as to where the dynamic (and temporal) emphasis should be.Comment
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But there are things were common sense demands changes in dynamics. As an example, in the 2nd suite, the first twelve bars seem to be a preparation for what comes in bar #13. So, I would play f from there, and a continuous crescendo from the #1 to #13 would be in order (I mean the prelude).
You say, I quote: "they seem to offer a more closed interpretation". Do you belong to the number of people who like to adhere to the "norms" of the past in the intepretation of music (HIP)?Last edited by Enrique; 09-05-2013, 09:03 PM.Comment
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I am suspicious of constant crescendos over 13 bars, Henry! At the other extreme, I am a practitioner of the 'baroque swell', which means a < ......> over a held note, particularly at cadence points in the basso continuo part. They can be over exaggerated at times, and I am guilty of that indulgence.
But to answer your question, I am not an ideological adherent of HIP practice, even though I admire its overall approach to enlivening older repertoire.
A propos of which, here's a link to Anner Bylsma (really my favourite cellist, all things being equal) playing Haydn's 'Cello Concerto N° 1 (Do mayor). I hope you enjoy it. I am rather envious of his smooth passage work in the 3rd movement, at the 17'49" mark.
http://www.youtube.com/watch?v=ncyPq0drXhALast edited by Quijote; 09-05-2013, 11:12 PM.Comment
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And check out this (the 5th Suite). Again, it is Anner Bylsma. I am enjoying this little meditation on Bach that you have initiated, Enrique.
http://www.youtube.com/watch?v=DEmhfGTWt8gComment
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Not to be taken verbatim. Anyway, when I played it (the prelude) I made a caesura at the begining of measure 14 and then started forte. What follows should sound powerful.Originally posted by Quijote View Post
Pedal notes I consider them to be at the core of music since Notre Dame up to Beethoven and his followers. Mozart employes them in the woodwinds in his slow movements, like that of the 41th, and I think that's an important ingredient of their sublimity.At the other extreme, I am a practitioner of the 'baroque swell', which means a < ......> over a held note, particularly at cadence points in the basso continuo part. They can be over exaggerated at times, and I am guilty of that indulgence.
Neither am I, though once I listened to an execution of the 3rd symphony with the Revolutionary and Romantic Orchestra and was quite impressed. A performance by Karl Richter of the Mass in B minor, with modern instruments, has nothing to envy HIP performances.But to answer your question, I am not an ideological adherent of HIP practice, even though I admire its overall approach to enlivening older repertoire.
I'm listening to them. Thank you for that.A propos of which, here's a link to Anner Bylsma (really my favourite cellist, all things being equal) playing Haydn's 'Cello Concerto N° 1 (Do mayor). I hope you enjoy it. I am rather envious of his smooth passage work in the 3rd movement, at the 17'49" mark.
I am at the middle of the paper on tonality and E flat major. When I finish its reading I'll have something to say about it.Last edited by Enrique; 09-06-2013, 08:37 AM.Comment
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Thank you, Enrique, for your comments above.
I look forward to your comments about the 'Beethoven' article concerning E-flat. I am at a loss to explain how and why, but I find an opening emphatic orchestral E-flat one of the strongest 'signals'. It must be something to do with an acoustic property. Let's talk later about that.Comment
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