3 LP - OR B-272/3/4 - (p) 1965
13 (2) CD - 3984-25716-2 - (c) 1999

Johann Sebastian Bach (1685-1750)





The Six Suites for Violoncello Solo, BWV 1007-1012





SUITE No. 1 in G MAJOR, BWV 1007
17' 56" A1
- (Prelude - Allemande - Courante - Sarabande - Menuett I & II - Gigue)


SUITE No. 2 in D MINOR, BWV 1008
20' 08" B1
- (Prelude - Allemande - Courante - Sarabande - Menuett I & II - Gigue)


SUITE No. 3 in C MAJOR, BWV 1009
22' 56" C1
- (Prelude - Allemande - Courante - Sarabande - Bourree I & II - Gigue)


SUITE No. 4 in E-FLAT MAJOR, BWV 1010
22' 53" D1
- (Prelude - Allemande - Courante - Sarabande - Bourree I & II - Gigue)


SUITE No. 5 in C MINOR, BWV 1011
24' 55" E1
- (Prelude - Allemande - Courante - Sarabande - Gavotte I & II - Gigue)


SUITE No. 6 in D MAJOR, BWV 1012
27' 47" F1
- (Prelude - Allemande - Courante - Sarabande - Gavotte I & II - Gigue)





 
Nikolaus D'Harnoncourt, Cello
- Andrea Castagneri, Paris, 1744 (BWV 1007-1011)
- Violoncello piccolo Baer, Salsburg, mid 17th century (BWV 1012)
 
Luogo e data di registrazione
Josefstädterstrasse 17, Vienna (Austria) - 1965
Registrazione live / studio
studio
Producer / Engineer
Dr. Kurt List / Syd Taylor, Tape editor (Columbia Studios)
Prima Edizione CD
Teldec "Bach 2000" - 3984-25716-2 - [13 cd (cd's 5 & 6)] - 61' 47" + 78' 49" - (c) 1999 - ADD
Prima Edizione LP
Musical Heritage Society - OR B-272/3/4 - (3 lp) - 38' 04" + 45' 49" + 52' 42" - (p) 1965
Note
Library of Congress Catalog No. 72-751274
The edition used by Mr. Harnoncourt in this recording is a facsimile of a manuscript by Anna Magdalena Bach published by Doblinger.
Il volume 11 della "Bach 2000" contiene 13 cd's. Le 6 Suites per Violoncello solo BWV 1007-1012 sono contenute nel cd 5 (tracce 1-21) e 6 (tracce 1-21).

Notes
Before Bach’s time, there were very few ‘cellists worthy of being called virtuosi, and very little literature for either the solo or accompanied ‘cello. In 1689, the composer-’cellist Domenico Gabrieli published what are considered the first compositions specifically written for a solo ‘cello. Prior to that, the ‘cello had been used as a continuo instrument (along with the bass of the harpsichord) to accompany instrumental or vocal solos. Shortly after Gabrieli’s pieces were printed, the composer-‘cellist Giuseppe Jacchini (d. 1727) published his sonatas for violin and ‘cello (1697). Jacchini’s and Gabrieli’s works are well-written for the ‘cello and exploit the register best calculated to bring out the expressive quality of the instrument. Jacchini is also considered the composer of the first ‘cello concerto. His "Sonata No. 5 in D" contains an interesting movement in the nature of a dialogue between a solo trumpet and a ‘cello. Other early composers of ‘cello concerti were Leonardo Leo, who composed six 'cello concerti, and Vivaldi, who wrote 27 concerti for one, or two, ‘celli and orchestra.
It is not known for whom Bach wrote the six SUITES for unaccompanied ‘cello. It seems likely, though by no means certain, that they were written for the virtuoso ‘cellist and viola da gamba player Christian Ferdinand Abel, who was in the court orchestra of Prince Leopold of Cöthen. Bach conducted the orchestra from 1717 to 1722.
When composing the SUITES, Bach was faced with several unique problems. It was necessary for him to write music for an instrument which had until this time been relegated to a secondary role in the orchestra, and also in the chamber music thus far composed. Therefore, he was forced to compose his music in a manner which would be enjoyable to listen to - and perform - and at the same time to explore and utilize the capabilities of the instrument to its fullest. In order to do this, it was necessary to figure out what could be done in theory, and then find out whether it was practical. The result was that, although each of the SUITES are in five movements, Bach‘s method of writing for the ‘cello is varied. The first suite, for example, gives the impression that he was experimenting with the different sonorities and possibilities of the instrument. The emphasis appears to be on the sonorities of the ‘cello in the middle register and there is only a limited use of two or three note chords (double or triple stopping). In SUITE II, the emphasis appears to be on the melodic expressivity of the ‘cello in the middle and upper registers. In the Sarabande and First Menuet, Bach makes the first extensive use of double and triple stops. In these movements he also makes his first lengthy experiments in writing harmonically and contrapuntally.
In writing for the ‘cello (or violin) it is necessary to keep in mind that unlike the piano (where the hand can press as many as five different keys down at once) each of the four strings on a ‘cello or violin are capable of playing only one note at a time. Therefore, to play two or more melodies (or chords of two or more notes) simultaneously, one must play on the required number of strings with the bow (right hand) and press on the strings simultaneously (left hand). Theoretically, a violin or ‘cello can play a chord of four notes at the same time, or four-part counterpoint, by playing one part on each of the four strings. The problem is that because of the construction of the stringed instruments, and the manner in which they are played, it is possible to play four-note chords, but only two, and occasionally three, notes can be sustained. When two or more melodies are played at once, the problem is compounded since each of the melodies must have a "life" of its own. In order to accomplish this, the composer must plan his composition so that his primary and secondary melodies are played on adjacent strings. For instance, you cannot play harmony or counterpoint on the first and third strings simultaneously because the bow will also touch the second string. In addition, the composer must make sure that the stretch between the notes can be reached by the left hand. The difficulty is further increased when composing for the ‘cello because in the low register there is, the danger of the two and three note chords sounding "muddy" or unclear. ln the Sarabande and first Menuet to the second suite, Bach attempted to arrive at a solution to the problem. The result is that in these two movements he frequently wrote chords of two and three notes in different registers, as though endeavoring to find out what sounded best and what was most practical. By comparing the clouded sounds of the chords in the Sarabande with the more open sound of those in the Menuet, the listener can bear for himself the results of Bach's experiments.
With SUITE No. Ill, Bach’s concern was in another area - to exploit as fully as possible the sonorities to be attained by playing on the open strings. This is particularly noticeable in the Prélude, Allemande, Sarabande and Gigue. ln this suite Bach made use ot the knowledge gained from writing two and three note chords in the preceding suite and made increasingly greater use of them from the third suite on.
Another problem Bach was faced with was how to make an instrument such as the violin or ‘cello sound as though it were playing two or more melodies without actually writing them down in the way of double stops. This was done by writing for the instrument in such a fashion that the melody, while unbroken, is generally divided into two or more sound planes: 1) written in the high and middle registers and 2) written in the lower and higher registers. By doing this, the composer "implied" a second melody without actually writing one. A fine example of this may be found in the Prélude to the 5th SUITE, the fast part of which is a two-voice fugue.
The suites fall into three sets of two each. The first two (in G and D Minor) have the usual Prélude, Courante, Sarabande and Gigue. Between each of the Sarabandes and Gigues there are two Menuets. In suites 3 and 4 (C and E flat Major) there are two Bourrées between the Sarabande and Gigue, and in suite 5 and 6 (C Minor and D Major) there are two Gavottes between these movements.
Generally speaking, a prélude is an introduction to a larger work, an opera, or suite, for example. Without going into an involved discussion of other types of préludes, we might mention those by Chopin and Debussy for the piano, which were designed more or less as complete entities in themselves. As a rule, however, the prélude to an opera is almost synonymous with an overture. Many Baroque suites and fugues begin with an introductory prélude, which at times (when wellplayed) gives the impression of being an improvisation.
Each of the six SUITES for unaccompanied ‘cello begins with a prélude. That preceding the SUITE No. 1 in G (BWV 1007) is very much like an improvisation. In this case, the ‘cellist gives the impression of exploiting the warm middle register of his instrument. Another device Bach utilizes in this movement is that of having the ‘cellist play the same note alternately on two different strings. The result is that although the ear hears the note being repeated, it is also possible to hear a slight change in color between the note played on the D string and the same note being played on the open A string. The difference is roughly the same as the colors red and Chinese red.
The Allemande is a slow flowing dance and in this particular Allemande, the rhythm is more smooth-flowing than in the succeeding suites. The Courante is a fast, gliding dance. In the present Courante, the melody is played alternately on two levels: the first makes use of the lower register of the ‘cello and is easily recognizable because it is more accented and played more slowly; the second makes use of the middle register and is played more quickly and more smoothly, On the first level, we have the bass with its harmonic implications, on the second we have the melodic line itself, so that although the movement is played on one instrument, it is laid out in such a way that two different parts are implied, if not, in fact, played.
By Bach’s time, the Sarabande had become a slow dance, although at one time it was fast and considered lascivious enough to corrupt any angels who happened to witness it in performance. Although the present Sarabande begins with rich, full-sounding chords, it is unlikely that any but the most noble thoughts would occur to cherubim, be they sophisticated  or naive.
Except for one chord, Menuet I consists of a simple melodic line. An interesting feature of this movement is that although it is in 3/4 time, the last few measures give the impression of being in 2/4, Menuet II is in the key of G Minor, to contrast with the major tonality of Menuet I. Although there are no two, three, or four note chords in this movement, the implied harmonies are very much in evidence. During the first strain of Menuet II, Bach composed the ‘cello part in such a way that the ear can follow the descending bass part with no trouble at all. The second strain is based on a series of chord progressions, the chords themselves outlined in the melody. After the second menuet, the first is repeated, The Gigue is last-moving and pleasant, but somewhat less interesting than the preceding movements, although it does develop a tension just before the end.
SUITE No. II IN D MINOR (BWV 1008) begins with a Prélude which is somewhat more improvisational than that of the first suite. The present Prélude is almost entirely based on the first three notes with which it begins. It is as though the composer had sat down to improvise on a few notes and then exploited all the melodic possibilities which they implied. The Allemande is written primarily in the middle and lower registers of the ‘cello. There is a dreamy sadness about this movement which is only partially dispelled by the Courante which follows it. The Sarabande has a lugubrious quality which results from the two and three-part hamionies which the ‘cellist is required to play. The modulations are not only abrupt (especially in the second strain) but the intervallic relationships which comprise the melody itself are such that the entire movement has a somewhat doleful air. In its character, rather than in the notes themselves, this movement seems related to the Sarabande from the first "French Suite" which is also in D Minor, Menuet I is in two and three-part counterpoint. The parts are so spaced that the ‘cellist can play them with relative ease while the listener will have no trouble in following the individual melodies. Menuet II is in a major tonality, in contrast to the minor tonality of Menuet I. While the first Menuet was actually composed in two and three-part counterpoint, there is only a single melodic line in Menuet II. The harmony (and what there is of an implied counterpoint) all grow out of this single melody which is played for the most part in the middle and upper registers. It is interesting to hear the effect of the lowest note in this movement, which although played on a stringed instrument, occurs at such a point as to almost have the effect of sounding like a tuba or bass drum. There is a tension and energy in the closing Gigue which resembles the emotional quality of the Sarabande in its intenslty. In this movement Bach frequently resons to composing in two and three-part counterpoint and making full use ofthe open G and D strings, making the part-writing easier to play while at the same time increasing the tension.
There is a sadness about this suite which is not so much the result of its minor key as the reflective mood of each of the movements. It is not the sadness of unhappiness, but rather a kind of wistful, introspective quality such as we find in the Prélude and Sarabande. The mood is akin to what early 19th century writers called "a sweet sadness," which, despite its slightly sorrowful aura ls nevertheless pleasant.
SUITE No. III in C (BWV 1009) begins with nothing more than a descending, and then ascending, scale. Little by little the scale patterns are dissipated as we realize that Bach used them only as a means of establishing the tonality. In this Prélude, Bach seems to have been experimenting with the sonorities of the lower (the most resonant) and middle registers. Using arpeggios to define a tonality, Bach then carries his listener to a new key in which the procedure is repeated. The climax of the movement occurs at a point where the G string serves as a pedal - as the harmony undergoes changes throughout. The effect approximates the sound of an organ which all but envelops the listener. The Allemande is related to the Prélude melodically. More important, however, is the fact that Bach, apparently intrigued by the sonorities accomplished in the first movement, experimented with them in a different fashion in the second. Here he not only used the open C, G, and D strings, he also employed double stops in the first strain, creating an sound almost sensuous thereby. Although no double stops are employed in the second strain, the writing is so varied that one has no trouble in following the two, and occasionally, three-part writing. The Courante begins in a light, almost happy mood, the 3/4 rhythm being sensed as a straight line. Toward the end of the first strain (and again at the end of the second) there is a sudden change in rhythm (though not in tempo) and one becomes acutely aware of the three beats as though the straight line had been made into the jagged points on a graph. The effect on the listener is as though he had been riding on a smooth highway and suddenly encountered potholes in the pavement.
There is a fine, expansive quality about the Sarabande, which for the most part is written in double and triple stops. As the short Movement progresses, it appears to also grow in dimensions, so that the music almost appears to take on a physical shape and grow in front of one’s eyes, like the Milan Cathedral which seems to expand the longer one looks at it.
Bourree I is one of the more popular movements from Bach’s sonatas, suites and partitas for an unaccompanied string instrument. Bourre II, in C Minor, is in complete contrast to Number I. And not only is it in a different key. Bourrée I contains a great deal of implied counterpoint, but Number II is for the most part a single, smooth-flowing melody.
The Gigue, like the Prélude and Allemande, exploits the open G and D strings. The two-part writing which is occasionally used gives the movement a tension and resonance that make it a stirring and fitting closing movement.
The Prélude to SUITE No. IV IN E-FLAT (BWV 1010) begins as an improvisation on a pedal note. In this case, the note (E-flat) is not held throughout the beginning of the movement; instead it is repeated on the first beat of the first nine measures. It is interesting to observe the bass melody develop once the pedal-note has been left. The climax is reached via a sustained C-sharp, and a cadenza (not unrelated to those found in some of the organ preludes and toccatas), follows. The Allemande and Courante have certain similarities to various movements of the 4th "French Suite," which is also in the key of E-flat. The Allemande contains melodic affinities to the much shorter "Air" from the keyboard suite, while the first few notes of the Courante are similar to those of the "Gavotte" in the keyboard work. Such close relationships between movements of different compositions is understandable when we keep in mind that the ‘cello works, and those for keyboard, were written at about the same time. Although the ‘cello suite is Baroque in concept, the Sarabande shows the spirit of the times - the changing times - by a slightly rococco turn of phrase, as well as in some ol the harmonic progressions. The Bourrée is one of the few purely instrumental works of Bach which seems to draw upon folk music for its inspiration. Certainly the opening melody of Bourrée I appears to be derived from a folk-song or folkdance. Bourrée II is unusual in that it is in the same key as Number I and because it is so short (12 measures). In performance, it seems to be played more slowly than Bourrée I, whereas actually it is being played in the same tempo. The reason for this illusion is that Bourrée II consists almost entirely of quarter notes, while Bourrée I alternates between sixteenth, eighth, and quarter notes. The closing Gigue is a perpetual motion of sorts, there being only four breaks in the rhythm during the entire movement. Formally it is interesting because of its primitive three-part form, the opening melody recurring near the end, after a lengthy middle section.
By the early 18th century, the French opera overture, as established by Lully, had become popular throughout Central Europe. It was not only used as an introduction to the opera (the Italian and English operas of Handel and Purcell) but as an extended first movement to the orchestral suite - those of Bach and Telemann being the most familiar. So popular was the form that composers adapted the harpsichord and frequently used it to introduce suites for that instrument. Telemann, Bach and Handel were some of the composers who wrote keyboard suites with first movements in the form of a French overture. This overture is not to be confused with the Italian opera overtures (generally called sinfonia) which ultimately led to the classical symphony. The French, overture begins with a slow introduction which is followed by a fast fugue and a return to the slow tempo of the opening.
Bach’s SUITE No. V IN C MINOR (BWV 1011) required a special type of tuning, called scordatura, in which the A string is to be tuned one note lower, to G. The Prélude to the SUITE is in the nature of a French overture The ingenuity with which Bach writes a two-voice tugue for one instrument is truly astonishing. The most remarkable part of this fugue is that although it rarely employs distinct melodic parts, the writing is planned so that it is frequently possible to "hear" two melodies, even though only one is actually being played. So well thought out is this fugue that during the numerous episodes and the stretto, it is sometimes difficult to remember that the whole movement is played on one instrument and not two or three. During the coda, Bach even inserted a pedal note, such as one frequently finds in his keyboard fugues. The Allemande to this SUITE is rhythmically more angular and less flowing than those of the preceding suites. lt is also more harmonically varied and uses the resources of the ‘cello to a greater extent than the other Allemandes. The same might also be said of the Courante. There is a great deal more intensity in this Courante, and its angular rhythms and accents are quite different from the smooth-flowing character of the Courantes in the 3rd and 4th suites. The Sarabande is almost melancholy in its sadness. It is one of those movements which seem to defy or at best challenge the performer to bring out its inner "meaning." The intensity of this movement is akin to that found in the closing movement of Bach’s "Passion According to Saint Matthew," which is in the same key and is also a slow movement.
An unusual feature of the two Gavottes is that they are in the same key. The first Gavotte, however, is rhythmically and melodically more angular and is largely made up of double and triple stops. The second Gavotte is more flowing and makes no use of double stops. Only at the end does it imply the use of a second melody. While two and occasionally three melodies may be heard, or are implied throughout Gavotte I, counterpoint is only implied at the end of Gavotte II. The last movement, a Gigue, is a pleasant movement but lacks the drive of the preceding movements.
This SUITE, which is nearly as strong as No. 3, was later transposed to G Minor and arranged by Bach for the lute. Although several of Bach‘s friends were professional lutenists, it is not clear for whom the arrangement was made.
SUITE No. VI IN D (BWV 1012) also uses scordatura, this time making use of a fifth string. It was originally believed to have been composed for the viola pomposa, an instrument Bach was supposed to have invented. Bach’s "viola pomposa" has been proven to have been the violoncello piccolo, which, however, raises other questions since the latter instrument is supposed to have had four strings and Bach’s suite specihcally calls for five. lt is possible that the truth lies somewhere between the two, so that while we may never know who invented the viola pornposa it seems likely that the present SUITE was written for a standard size ‘cello - with five strings.
The Prélude to the SUITE No. VI is a movement full of brilliant and varied colors. lt not only exploits the additional string (although nowadays notes written tor that string are played on the A string - the 4th); there is a great deal of experimenting with color effects, whereby the ‘cellist is required to play the same notes on two different strings, one being open, the other fingered. In its mood, this movement is actually closer to the toccata than to the prélude. It is at once colorful, brilliant to hear and technically demanding to perlorm; moreover, there is a brilliant cadenza-in-tempo towards the end of the movement. The Allemande in this suite is a highly embellished melody which exploits the full range of the ‘cello from its lowest note to what was in Bach’s time considered one of its highest notes. The Courante is fast and flowing and its mood is quite the opposite of the preceding Allemande. The Sarabande is almost Handelian in its breadth. The melody of this Sarabande reminds one of early 18th century opera. The setting for the ‘cello is particularly full. Nevertheless, the listener is able to distinguish the principal melody at all times.
Gavottes I and II are probably more familiar in a piano arrangement than in the original version. Whether by coincidence or design, the closing Gigue opens with a melody similar to a French folk song. There is a kind of joie de vivre about this movement which exceeds that found in the Gigue ol the 3rd Suite. The thematic ideas and their working out, the colors, and the intensity of this movement make it a virtual tour-de-force. Unlike the closing movements of some of the preceding suites, this Gigue retains the same high level musical intensity of the earlier movements and brings the suite to a most effective conclusion.
Douglas Townsend

Other Editions
- Harmonia Mundi France - HM 381-383 - 3 LP's - (p) 19?? - (First cover)
- Harmonia Mundi France - HM 381-383 - 3 LP's - (p) 19?? - (Second cover)
- Musical Heritage Society "Archive Series" - 525776Z - 2 CD's - (c) 2000
- Warner "Apex" - 2564 60816-2 - 2 CD's - (c) 2003



Nikolaus Harnoncourt (1929-2016)
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