Work: Suite for Cello solo no 1 in G major, BWV 1007
J.S. Bach: Suite For Cello Solo No.1 In G, BWV 1007 - 1. Prélude
J.S. Bach: Suite For Cello Solo No.1 In G, BWV 1007 - 2. Allemande
J.S. Bach: Suite For Cello Solo No.1 In G, BWV 1007 - 3. Courante
J.S. Bach: Suite For Cello Solo No.1 In G, BWV 1007 - 4. Sarabande
J.S. Bach: Suite For Cello Solo No.1 In G, BWV 1007 - 5. Menuet I-II
J.S. Bach: Suite For Cello Solo No.1 In G, BWV 1007 - 6. Gigue
About This Work
It is thought that Bach wrote his six suites for unaccompanied cello between 1717 and 1723, while he was in the employ of Prince Leopold of Anhalt-Cöthen and had two superb solo cellists, Bernard Christian Linigke and Christian Ferdinand Abel,
at his disposal. However, the earliest copy of the suites dates from 1726, and no autographs survive. Thus a chronological order is difficult to prove, though one guesses that these suites were composed in numerical order from the way that they gradually evolve and deepen, both technically and musically.
A Baroque suite is typically a collection of dance movements, usually in binary form with each half repeated. Common elements of the suite were the Allemande (German dance), a moderately slow duple-meter dance; the Courante, a faster dance in triple meter; the Sarabande, a Spanish-derived dance in a slow triple meter with emphasis on the second beat; and a Gigue (Jig), which is rapid, jaunty, and energetic. Bach took these typical dance forms and abstracted them, and then added a free-form, almost improvisatory Prelude which sets the tone for each suite, and a galanterie, an additional dance interposed between Sarabande and Gigue. (In the first two suites, Bach uses a pair of Minuets.) With these dances, Bach experimented and created the first, and arguably still the finest, solo works for a relatively new instrument.
The first suite, in G major, gives the feel of innocent simplicity, and serves as a marvelous opening to these extraordinary works. The Prelude recalls the C major Prelude which opens Book One of the Well-Tempered Clavier. Each piece sets a remarkable atmosphere with no melodies, only strong rhythmic patterns, cunningly evolving harmonies, and evocative textures. Bach uses short, arpeggiated phrases to build larger-scale crescendos and decrescendos, and these phrases in turn aggregate into still larger structures, evoking an endlessly more complicated fractal pattern. This quality would become a characteristic of Bach's cello writing, along with a distinctive rhythmic quality far removed from the character of the original dances. Bach's suiite may have been inspired by viol writing in France and cello writing in Italy, but there was nothing like it before the first suite, and little like it after, except for the five suites that followed.
- James Liu
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