No accompaniment cello suite
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The no accompaniment cello suite (German: Suiten für Violoncello solo) of Johan ゼバスティアン Bach points at all following six pieces in the musical piece for the cello solo.
- No accompaniment cello suite first G major BWV1007
- No accompaniment cello suite second D minor BWV1008
- No accompaniment cello suite third C major BWV1009
- No accompaniment cello suite fourth strange E major BWV1010
- No accompaniment cello suite fifth C minor BWV1011
- No accompaniment cello suite sixth D major BWV1012
Table of contents
History
It is not apparent to the composition generation, but it is thought that most were composed for (from 1717 to 1723) for the Kay ten era. There is the opinion written for Christian Ferdinand Abel whom the Imperial Court orchestra of the Kay ten consists of 12 music teachers, and the cello player served as in Imperial Court viola ダ Gamba players. In late years a small cello (violin cello ダ スパッラ) to play for the posture that I supported with a shoulder like a violin is restored, and the opinion which was written because Bach plays it like the no accompaniment music of the violin surfaces. For the Kay ten era, a musical piece of six pieces of constitution including Brandenburg concerto and a French suite, the British suite is made, but it is considered to influence it that a multiple of 3 was liked in this time. Copying music of wife Anna マクダレーナ of Bach was left, and this has been regarded as handwriting music for a long time; is beautiful.
It was forgotten as a simple etude, but came to be considered to be the sacred book-like work of the cello player afterwards since I was found again by Pablo Casals. It is one of the things appreciated in a work of Bach in particular in the present age. I arrange it in a contrabass and a viola, viola ダ Gamba, a guitar, a saxophone, a flute, a horn, a marimba, an electric guitar, other musical instruments including the tuba and am often played.
Musical piece commentary
Each begins in an overture (prelude), and six pieces of suites become six pieces of constitution of an allemande, courant, sarabande, a minuet (the third, the fourth is boulle, the fifth, the sixth a gavotte), the gigue. It is unified in one tonality every suite. It is dance music, but the element that it is like many voices is included in constitution simple at a glance, and, as for each musical piece, the double-stop how to play starts dramatic and various effects to make full use, and not to think with one musical instrument except a prelude and an allemande (it was dance music originally, but the character was lost in those days), too.
A performance is technical and tends to become difficult in numerical order, but it is said that the first begins a cello and can challenge it at degree for 2 through 3, and the second is relative difficulty approximately at the same level as the first although there is difficult fingering in a part, and performance in itself is not so difficult if to the third. However, as hang a life, and study it when become the expression in sympathy with content of the music; is targeted. In addition, a high technique is required because the fifth premises a scordatura, and the sixth is written for the musical instrument of 5 strings to play it with a modern general musical instrument. About strength and weakness or bow tie Inge, interpretation, arranged performance music are published variously.
The first G major BWV1007
| | The first G major BWV1007 |
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- Overture (Praeludium)
- Four-fourths beat. An arabesque-like broken chord changes. It is quoted for the etude thirteenth of Chloe Zell and I convert it variously in the present age and am used and become the best-known music of all songs.
- Allemande (Allemande)
- Binary form, two-seconds beat. Calm melody.
- Courant (Courante)
- Binary form, three-fourths beat. Three beats of light dance music.
- Sarabande (Sarabande)
- Binary form, three-fourths beat. I give a calm atmosphere using a double-stop.
- Minuet I/II (Menuetto I/II)
- Ternary form, three-fourths beat. The middle second minuet is a G minor.
- Gigue (Gigue)
- Binary form, six-eighths beat. Rapid dance music.
The second D minor BWV1008
- Overture
- Three-fourths beat. I begin with a sound type to rise to ask it, and heat gradually stays and is bound together in the continuation of five double-stops finally. There is the example playing this part using a broken chord and a grace impromptu.
- Allemande
- Binary form, four-fourths beat. I give a serious atmosphere using a double-stop and the bass.
- Courant
- Binary form, three-fourths beat. It is like many voices with a careful sound type.
- Sarabande
- Binary form, three-fourths beat. I play the same sound with two strings and begin. I let you feel an admiration in a minor key in the latter half.
- Minuet I/II
- Ternary form, three-fourths beat. I make full use of a double-stop here and include an impassioned element in decent molding. The thing which the middle second minuet is D major, and is light.
- Gigue
- Binary form, three-eighths beat. A lively drop sound type is repeated and unfolds for many voices.
The third C major BWV1009
| | The third C major BWV1009 |
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- Overture
- Three-fourths beat. A scale is big, and the melody which drops sequentially to go down is presented by a prime. There is overwhelming elation in a process leading to a series of double-stops from a series of broken chords such as the wave of the latter half.
- Allemande
- Binary form, four-fourths beat. It is more rhythmic than other allemandes.
- Courant
- Binary form, three-fourths beat. The subjects to suddenly drop like a brick are various and are unfolded.
- Sarabande
- Binary form, three-fourths beat. A sound type asking by a double-stop is played.
- Boulle I/II (Bourree I/II)
- Ternary form, two-seconds beat. The first boulle that the bass talks is easy to get close to the soprano and is well known. The middle second boulle is C minor.
- Gigue
- Binary form, three-eighths beat. A sound type to rise with a double-stop is developed splendidly.
The fourth strange E major BWV1010
- Overture
- Two-seconds beat. While a broken chord to raise or lower a wide range is repeated, I gradually incline to a minor key. It becomes dramatic while interlacing a careful sound type and double-stop in the latter half. Music to strongly impress it with abstractness of all songs.
- Allemande
- Binary form, two-seconds beat. Careful movement and the comparison of the pitch jump called off are seen.
- Courant
- Binary form, three-fourths beat. Gentle 三連符 gives a change of the rhythm for a lively canto.
- Sarabande
- Binary form, three-fourths beat. Use a double-stop and the upper register well; and a close impression of the grain.
- Boulle I/II
- Ternary form, two-seconds beat. The lively thing that the theme runs up the scale. The second boulle gives simplicity with the same 変 E major, double-stop and simple rhythm, too.
- Gigue
- Binary form, twelve-eighths beat. Witty 終曲. A low prime to bind the end of the gnarl starts humorous taste.
The fifth C minor BWV1011
Score is written assuming tuning the A string (the string which is the highest in a range) of the cello low in G, and playing it. Such a technique is called a scordatura (the irregular tuning method). By the reason of disadvantage occurring in the tension of volume and the sound by loosening A string, it has been played with the score which was arranged easily to be able to play it as normal tuning. They demand original euphoniousness, and the original score street cello players playing it increase now even if a degree of difficulty becomes higher technically.
In addition, it is the same music except no accompaniment lute suite third BWV995 and 調 (G minor). The handwriting music is left in arrangement of Bach, and this is the clue which is important to know the habit of the copying music of not only the progress that Bach thought about but also Anna マグダレーナ Bach. I can grasp clearer fugue structure in the fugato of the overture latter half.
- Overture
- Two-seconds beat - three-eighths beat. It is written with a style of the French overture and is greatly divided into two parts. As for the first half, impromptu seriously. When the latter half begins, the new subject is developed for many voices like fugato and is bound together in a tonic chord of the C major last. The music that is a scale male size.
- Allemande
- Binary form, two-seconds beat. A double-stop and dot rhythm impress it with the solemnity.
- Courant
- Binary form, three-seconds beat. An appoggiatura and the rhythm of the end of the knob are characteristic.
- Sarabande
- Binary form, three-fourths beat. Meditation-like music not to use a double-stop at all, and to use many chromatic scales.
- Gavotte I/II (Gavotte I/II)
- Ternary form, two-seconds beat. Rhythm and the double-stop of the gavotte with two appoggiaturas are made use of. The second gavotte is C minor, too. I drift gently in 三連符 and form the contrast with the main part.
- Gigue
- Binary form, three-eighths beat. The rhythm with the dot is dominant. It is unique music suddenly by Thailand stepping over the bar on the way stagnation or to give an impression up in the air.
The sixth D major BWV1012
This music is written for the musical instruments of 5 strings which added a high-pitched tone string (E string) to a normal cello another one. There was the opinion to be viola ポンポーザ which was said even if Bach devised it with the musical instrument and in late years was restored and came to be often used by a concert. The range is the same as a cello with a small cello (violin cello ダ スパッラ) to have this musical instrument on the shoulder like a violin, and to play, too. The example using the cello to be slightly small-sized, and to put it to the foot by the performance with other old musical instruments, and to hold is seen, but does not know it what kind of musical instrument Bach really assumed. With the modern musical instrument, it is often played on the general cello. I use many soprano and become the high tone of the feeling of strain when I play it on the modern cello. I will use many high positions when I play it with the musical instrument of 4 strings, and a performance is difficult.
- Overture
- Twelve-eighths beat. A forte sign and a piano sign (stollen of the same melody) are unusually filled in on a part of the beginning for score of Bach. I play the same sound with two strings in turn and give an effect. Bright music. It is written in little Nello form.
- Allemande
- Binary form, four-fourths beat. It is written in the note that is elegant, and is very small and is usually often played more slowly.
- Courant
- Binary form, three-fourths beat. I am consistent in cheerfulness. Finger progressing and getting out called off smooth and rhythmical sound are required.
- Sarabande
- Binary form, three-seconds beat. I use many double-stops, and harmony progress to drop sequentially to step cautiously is beautiful with beauty.
- Gavotte I/II
- Ternary form, two-seconds beat. It is well known for a gavotte open and above board. D major becomes the second gavotte for many voices more.
- Gigue
- Binary form, six-eighths beat. 終曲 which a scale is big, and is grand.
Excellent performance of the no accompaniment cello suite
As it is the representative musical piece for cellos, the world-famous cello player of the ancient and modern times records it competitively. Here, I generally nominate a player having high reputation.
Performance with the modern musical instrument
- Pablo Casals
- Pierre Fournier
- Paul Tortelier (twice recording)
- Tick yl シャフラン
- Janos Starker
- Mstislav Rostropovich (some twice recording)
- Mischa Maisky (twice recording)
- Yo-Yo Ma (twice recording)
- Anner Bijlsma (only 1992 recording, "セルヴェ" [stole D Bali] use, sixth use a cello piccolo)
Performance with the old musical instrument
- Anner Bijlsma (twice recording)
- Peter we spelling way
- Hidemi Suzuki (twice recording)
- Wieland Kuijken
- Susan shepherd
- ヤープ Teru Linden
- Bruno co-habit
- オフェリー fellow yard
- Ryo Terakado (recording by violin cello ダ スパッラ)
- Sigiswald Kuijken (recording by violin cello ダ スパッラ)
Work using the no accompaniment cello suite
- The first overture was used in Neon Genesis Evangelion - Episode 15 "lie and silence". In addition, "even シト new life" for theater was used as opening title role.
- Sherbet (novel) - The first G major overture was used in an animated version of the Kyoto animation making.
- A TV drama of days - Ishihara promotion making of the big city fight. The second D minor was used in Episode 3 (January 20, 1976 broadcast).
- An action game of fairy tale veil - システムサコム making. The fifth gavotte was used in Chapter 8.
Outside link
This article is taken from the Japanese Wikipedia No accompaniment cello suite
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