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1131:. As the range required in this piece is very large, the suite was probably intended for a larger instrument, although it is conceivable that Bach—who was fond of the viola—may have performed the work himself on an arm-held violoncello piccolo. However, it is equally likely that beyond hinting the number of strings, Bach did not intend any specific instrument at all as the construction of instruments in the early 18th century was highly variable.
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recent studies into the relationships among the four manuscripts show that Anna
Magdalena Bach's manuscript may not have been copied directly from her husband's holograph but from a lost intervening source. Thus, the slurs in the Magdalena manuscript may not come from Bach himself and would not be clues to their interpretation.
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Scholars believe that Bach intended the works to be considered as a systematically conceived cycle, rather than an arbitrary series of pieces. Compared to Bach's other suite collections, the cello suites are the most consistent in order of their movements. In addition, to achieve a symmetrical design
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Suite No. 5 was originally written in scordatura with the A-string tuned down to G, but nowadays a version for standard tuning is included in almost every printed edition of the suites along with the original version. Some chords must be simplified when playing with standard tuning, but some melodic
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has stated that he believes the manuscripts of the suites by Anna
Magdalena Bach are accurate. According to his analysis, the unexpected positioning of the slurs corresponds closely to the harmonic development, which he suggests supports his theory. His position is not universally accepted. The most
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Only five movements in the entire set of suites are completely non-chordal, meaning that they consist only of a single melodic line. These are the second minuet of Suite No. 1, the second minuet of Suite No. 2, the second bourrée of Suite No. 3, the gigue of Suite No. 4, and the sarabande of Suite
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published an edition in 1983, which he based on facsimiles of the manuscript by Anna
Magdalena Bach, placing them opposite each printed page. It was described as "the most important edition of the greatest music ever written for the instrument". However, Kurtz chooses to follow the Magdalena text
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is an uncomfortable key on the cello and requires many extended left hand positions. The key is also difficult on cello due to the lack of resonant open strings. The prelude primarily consists of a difficult flowing quaver movement that leaves room for a cadenza before returning to its original
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viewed it as an extension of silence. Rostropovich, extending
Tortelier's "silence" to an extreme, would sometimes play the Sarabande as a recital encore at a metronome marking of 32 or slower, one note per beat, with no vibrato and no slurs, each note standing alone in a "well of silence".
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The
Prelude of this suite consists of an A–B–A–C form, with A being a scale-based movement that eventually dissolves into an energetic arpeggio part; and B, a section of demanding chords. It then returns to the scale theme, and ends with a powerful and surprising chord movement.
241:) cannot be completely established. Scholars generally believe that—based on a comparative analysis of the styles of the sets of works—the cello suites arose first, effectively dating the suites earlier than 1720, the year on the title page of Bach's
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normal cello size with a fifth upper string tuned to E, a perfect fifth above the otherwise top string. However, some say there is no substantial evidence to support this claim: whilst three of the sources inform the player that it is written for an instrument
213:-like nature, and difficulty in interpretation because of the non-annotated nature of the surviving copies and the many discrepancies between them, the cello suites were little known and rarely publicly performed in the modern era until they were recorded by
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in London. The other four were recorded in Paris: 1 and 6 in June 1938, and 4 and 5 in June 1939. Casals became the first to record all six suites; his recordings are still available and respected today. In 2019, the Casals recording was selected by the
1935:
1146:, in his transcription of this suite for viola, was to transpose the entire suite to G major, avoiding "a tone colour which is not very suitable for this type of music" and making most of the original chords playable on a four-stringed instrument.
369:). Variations in the terminology used to refer to musical instruments during this period have led to modern confusion, and the discussion continues about what instrument "Bach intended", and even whether he intended any instrument in particular.
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movement that leads to the final, powerful chords. The subsequent allemande contains short cadenzas that stray away from this otherwise very strict dance form. The first minuet contains demanding chord shiftings and string crossings.
217:(1876–1973) in the early 20th century. They have since been performed and recorded by many renowned cellists and have been transcribed for numerous other instruments; they are considered some of Bach's greatest musical achievements.
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1234:(BWV 988). Musicologists, critics, and performers, however, pointing to the thinness of evidence of this proposition, and the extant evidence that supports Johann Sebastian Bach's authorship, remain skeptical of the claim.
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reviewer James A. Altena agreed with that critique, calling the surviving Bach-Schumann cello/piano arrangement "a musical duckbilled platypus, an extreme oddity of sustained interest only to 19th-century musicologists".
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music, is sometimes known as a partial key signature. The first and second bourrée of the 3rd Suite are sometimes used as solo material for other bass instruments such as the tuba, euphonium, trombone and bassoon.
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and other articulations, devoid of basic performance markings such as bowings and dynamics, and with spurious notes and rhythms. As a result, the texts present performers with numerous problems of interpretation.
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The cello suites have been transcribed for numerous solo instruments, including the violin, viola, double bass, viola da gamba, mandolin, piano, marimba, classical guitar, recorder, flute, electric bass,
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This suite is written in much more free form than the others, containing more cadenza-like movements and virtuosic passages. It is also the only one of the suites that is partly notated in the
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may have been the composer of several musical pieces attributed to her husband. Jarvis proposes that Anna
Magdalena wrote the six Cello Suites and was involved in composing the aria from the
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in 1889 when he was 13. Although Casals performed the suites publicly, it was not until 1936, when he was 60 years old, that he agreed to record them, beginning with Suites Nos. 2 and 3, at
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Cellists playing this suite on a modern four-string cello encounter difficulties as they are forced to use very high positions to reach many of the notes. Performers specialising in
458:, in 1868 while working on his own suites for solo piano and for other ensembles, made arrangements of the suites for piano solo, published from 1869 to 1871 by Rieter-Biedermann.
133:(1685–1750). They are some of the most frequently performed solo compositions ever written for cello. Bach most likely composed them during the period 1717–1723, when he served as
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Szabó, Zoltán. 2016. Problematic sources, problematic transmission: An outline of the edition history of the solo cello suites. PhD dissertation, The
University of Sidney.
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in 1854, but rejected his Bach cello-suite arrangements. His only cello-suite arrangement surviving is the one for Suite No. 3, discovered in 1981 by musicologist
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This suite is most famous for its intimate sarabande, which is one of the few movements in the six suites that does not contain any double stops (chords).
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1436:... Casals still seems to be the standard against which other performances are measured, and these recordings are indispensable to any serious collector.
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The
Prelude consists of two parts, the first of which has a strong recurring theme that is immediately introduced in the beginning. The second part is a
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The allemande is the only movement in the suites that has an up-beat consisting of three semiquavers instead of just one, which is the standard form.
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No. 5. The second gavotte of Suite No. 5 has but one unison chord (the same note played on two strings at the same time), but only in the original
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An exact chronology of the suites (regarding both the order in which the suites were composed and whether they were composed before or after the
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exactly, leading to differences between his and other editions, which correct what are generally considered to be textual errors in the source.
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The 5th Suite is also exceptional as its courante and gigue are in the French style, rather than in the
Italian form of the other five suites.
976:. It begins with a slow, emotional movement that explores the deep range of the cello. After that comes a fast and very demanding single-line
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Program Notes: The
University of Chicago Presents | Performance Hall | Logan Center. October 15, 2013, 7:30 PM. Jean-Guihen Queyras, cello
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1668:"Schumann Bach Suite Accompaniments, Summarized by Tim Finholt (Summarized from a preface by Joachim Draheim, Karlsruhe, Spring 1985.)"
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dance, since, in this particular sarabande, almost every first beat contains a chord, whereas the second beat most often does not.
445:, destroyed his Bach cello-arrangement manuscripts sometime after 1860, when Joachim declared them substandard. Writing in 2011,
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wrote arrangements with piano accompaniment for all six Bach cello suites. Schumann's publisher accepted his arrangements of the
198:. Gary S. Dalkin of MusicWeb International called Bach's cello suites "among the most profound of all classical music works" and
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The Cello Suites of Bach: History – Analysis – Detailed Interpretation – Program Notes – Audio – Video
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1450:"Jay-Z, a speech by Sen. Robert F. Kennedy and 'Schoolhouse Rock!' among recordings deemed classics by Library of Congress"
1282:"Review: Johann Sebastian Bach (1685–1750): Six suites for unaccompanied cello, Carmine Miranda (cello), CENTAUR CRC3263/4"
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Recent research has suggested that the suites were not necessarily written for the familiar cello played between the legs (
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1116:'s manuscript indicates the tunings of the strings, and the other sources do not mention any intended instrument at all.
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1157:(modern editions use tenor and treble clefs), which are not needed for the others since they never go above the note G
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The very peaceful sarabande is quite obscure about the stressed second beat, which is the basic characteristic of the
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performing editions. Analysis of secondary sources, including a hand-written copy by Bach's second wife,
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The suites are in six movements each, and have the following structure and order of movements.
330:, no autograph manuscript of the Cello Suites survives, making it impossible to produce modern
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version of the suite; in the standard tuning version it is completely free of chords.
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Using the Bach edition prepared by cellist Johann Friedrich Dotzauer and published by
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1751:"Using the Organ to Teach the Fourth Suite Prelude for Violoncello Solo by J.S. Bach"
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It is widely believed that Suite No. 6 was composed specifically for a five-stringed
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1711:
The Cello Suites: J. S. Bach, Pablo Casals, and the Search for a Baroque Masterpiece
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1865: – Comprehensive analysis and notes on interpretation by cellist Georg Mertens
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Review of 'Schumann: Chamber Music Vol 2 - Cello And Piano / Ensemble Villa Musica'
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have both recorded the complete suites on this "new" instrument, known today as a
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for solo piano, subtitling them "very freely transcribed and adapted for piano".
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256:(who was the first cellist to perform an entire Bach suite) in a thrift shop in
1355:"Bach's Solo Violin Sonatas and Partitas: The First Century and a Half, Part 1"
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1394:"The Story Behind the Bach Cello Suites, And Why We Still Love Them Today"
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who first began to popularize the suites, after discovering an edition by
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Bach transcribed at least one of the suites, Suite No. 5 in C minor, for
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Suite No. 4 is one of the most technically demanding of the suites, as E
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30:"Cello Suites" redirects here. For Benjamin Britten's three suites, see
17:
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The suites were not widely known before the early 20th century. It was
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types. The cello suites are structured in six movements each: prelude,
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called Suite No. 6 "a symphony for solo cello" and characterised its
1123:, a version of the violoncello piccolo played on the shoulder like a
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generally use the five-string cello for this suite. The approach of
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movements in the form of pairs between the sarabande and the gigue.
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The suites have since been performed and recorded by many cellists.
225:
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The second bourrée, though in C minor, has a two-flat (or G minor)
358:), but an instrument played rather like a violin, on the shoulder (
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Bach, J.S. (composer) and Watson Forbes (transcriber and editor).
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composed piano transcriptions of Suites Nos. 2, 3, and 5, in full
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which begins each suite, all the other movements are based around
126:
1674:(International Cello Society Newsletter). September/October 1996.
481:. They have been transcribed and arranged for orchestra as well.
1600:
1154:
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1011:
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School of Music, in Darwin, Australia, speculated in 2006 that
1339:
1127:, as well as a viola with a fifth string tuned to E, called a
996:
played this movement on September 11, 2002 at the site of the
1795:"Bach works were written by his second wife, claims academic"
273:
as "culturally, historically, or aesthetically significant".
1878:
History, Baroque Cello, Editions, Recordings, Interpretation
1726:
Bach Cello Suites Analyses & Explorations Volume I: Text
566:
The arpeggiated motion in the prelude to Cello Suite No. 1
2035:
Sonatas for viola da gamba and harpsichord, BWV 1027–1029
1728:. Bloomington, IN: Indiana University Press. p. 17.
27:
Suites for unaccompanied cello by Johann Sebastian Bach
2091:
Canonic Sonata for oboe, violin and continuo, BWV 1040
294:
Grammy Award for Best Instrumental Soloist Performance
282:
Grammy Award for Best Instrumental Soloist Performance
2030:
Six Sonatas for Violin and Harpsichord, BWV 1014–1019
1419:"J.S. Bach: Six Suites for Solo Cello – Pablo Casals"
1685:"Raff Work Catalog: Arrangements of Works by Others"
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and go beyond the traditional layout, Bach inserted
410:. An autograph manuscript of this version exists as
381:; reproductions of the instrument have been made by
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2184:
2101:
2022:
1987:
Sonatas and Partitas for Solo Violin, BWV 1001–1006
1979:
1524:"Sigiswald Kuijken over de 'violoncello da spalla'"
1254:"Dancing with J.S. Bach and a Cello – Introduction"
1119:Other possible instruments for the suite include a
107:
81:
39:
1552:The Violin Blog of Dmitry Badiarov – violin-maker
1303:. Heinrich Schiff. EMI Double Fforte CZS 5741792"
972:The Prelude is written in an A–B form, and is a
312:Page from a facsimile of A. M. Bach's manuscript
1548:"J.S. Bach – Violoncello da Spalla Suites"
1248:
1246:
987:described it as the essence of Bach's genius.
2393:List of compositions by Johann Sebastian Bach
1943:
1663:
1661:
1659:
360:
8:
2086:Sonata for two flutes and continuo, BWV 1039
1335:Proms 2015. Prom 68: Bach – Six Cello Suites
2134:Sinfonia for violin and orchestra, BWV 1045
1779:Six Suites for Viola (Originally for Cello)
206:wherein a man has created a dance of God".
1950:
1936:
1928:
1781:. J. & W. Chester Ltd., 1951. Preface.
589:A 2022 recording, played by Philip Milman.
63:
36:
2174:For two harpsichords in C minor, BWV 1060
1849:International Music Score Library Project
1789:
1787:
1596:
1594:
1869:Audio, commentary, analysis, and history
1626:
1624:
1622:
1620:
437:. It is believed that Schumann's widow
125:1007–1012, are suites for unaccompanied
1242:
1073:Performed on a viola by Elias Goldstein
1212:Speculations about Anna Magdalena Bach
1175:tonality as evoking joy and triumph.
1059:Cello Suite No. 5 (BWV 1011) – Prelude
575:Cello Suite No. 1 (BWV 1007) – Prelude
229:The first page from the manuscript by
151:(Suites for cello solo without bass).
143:. The title given on the cover of the
2199:Orchestral Suite in G minor, BWV 1070
1448:Andrews, Travis M. (March 20, 2019).
209:Due to the works' technical demands,
149:Suites Ă Violoncello Solo senza Basso
75:Suites á Violoncello Solo senza Basso
7:
2116:Violin Concerto in E major, BWV 1042
2111:Violin Concerto in A minor, BWV 1041
433:in an 1863 transcription by cellist
1495:"Kritischer Blick auf Cello-Suiten"
524:in each of Suite Nos. 3 and 4; two
520:in each of Suite Nos. 1 and 2; two
233:of Suite No. 1 in G major, BWV 1007
2121:Concerto for Two Violins, BWV 1043
1910:(video and background information)
1089:Open strings of the viola pomposa.
1010:An autograph manuscript of Bach's
596:The prelude, mainly consisting of
25:
2154:Keyboard concertos, BWV 1052–1065
1793:Dutter, Barbie and Roya Nikkhah.
1564:Campbell, Margaret (2004-08-23).
2194:Orchestral Suites, BWV 1066–1069
2014:Partita for Solo Flute, BWV 1013
1081:Suite No. 6 in D major, BWV 1012
1063:
1014:version of this suite exists as
980:that leads to the powerful end.
964:Suite No. 5 in C minor, BWV 1011
874:
856:
838:
820:
802:
784:
716:Suite No. 3 in C major, BWV 1009
701:
640:Suite No. 2 in D minor, BWV 1008
579:
558:Suite No. 1 in G major, BWV 1007
379:violoncello (or viola) da spalla
2414:Suites by Johann Sebastian Bach
1714:. Grove/Atlantic, 2011. p. 215.
1325:. Faber and Faber, 1980. p. 15.
731:. This notation, common in pre-
1614:. Retrieved November 23, 2015.
1309:. Retrieved November 23, 2015.
298:Six Unaccompanied Cello Suites
286:Six Unaccompanied Cello Suites
1:
2279:Everything's Gonna Be Alright
1919:Musical scores and MIDI files
969:lines become easier as well.
697:Gigue (performed by P. MĂ©let)
528:in each of Suite Nos. 5 and 6
884:All performed by John Michel
775:Cello Suite No. 3 (BWV 1009)
692:Cello Suite No. 2 (BWV 1008)
2293:Jesu, Joy of Man's Desiring
2009:Cello Suites, BWV 1007–1012
1835:Anna Magdalena's manuscript
1097:, a smaller cello, roughly
296:for his fifth recording of
271:National Recording Registry
202:described them in 1980 as "
2445:
2169:No. 4 in A major, BWV 1055
2164:No. 2 in E major, BWV 1053
2159:No. 1 in D minor, BWV 1052
1814:"The Search for Mrs. Bach"
1480:November 23, 2015, at the
1353:Sevier, Zay David (1981).
328:Bach's solo violin sonatas
29:
2388:
1537:. Retrieved 27 July 2010.
1535:PreludeKlassiekeMuziek.nl
1323:Bach and the Dance of God
1222:Charles Darwin University
62:
54:
44:
1908:Netherlands Bach Society
269:for preservation in the
1512:(subscription required)
441:, along with violinist
245:of the violin sonatas.
2333:A Whiter Shade of Pale
2314:Sheep may safely graze
1906:: performances by the
1749:Timmons, Lena (2012).
1724:Winold, Allen (2007).
1307:MusicWeb International
1286:MusicWeb International
1090:
567:
419:Breitkopf & Härtel
361:
323:
313:
234:
32:Cello suites (Britten)
2327:Trio Sonata, BWV 525a
2140:Brandenburg Concertos
1972:Johann Sebastian Bach
1880:jsbachcellosuites.com
1854:Johann Sebastian Bach
1647:. 2011. Reprinted at
1484:. October 2013. p. 2.
1398:Colorado Public Radio
1169:Mstislav Rostropovich
1140:authentic instruments
1088:
985:Mstislav Rostropovich
565:
321:Violoncello da spalla
319:
311:
254:Friedrich GrĂĽtzmacher
228:
131:Johann Sebastian Bach
2351:Bach's Greatest Hits
2273:Bach-Busoni Editions
2219:The Musical Offering
2076:in E major, BWV 1035
2071:in E minor, BWV 1034
2065:in C major, BWV 1033
2060:in A major, BWV 1032
2043:in B minor, BWV 1030
1522:Kuijken, Sigiswald.
1002:September 11 attacks
2379:Switched-On Bach II
2365:Jazz Sebastian Bach
2253:Air on the G String
1873:Stanford University
1822:. October 31, 2010.
1454:The Washington Post
1392:Rutherford, David.
1343:. 5 September 2015.
1265:Stanford University
1252:Wittstruck, Anna.
1231:Goldberg Variations
1114:Anna Magdalena Bach
1095:violoncello piccolo
427:Bach violin sonatas
267:Library of Congress
239:solo violin sonatas
231:Anna Magdalena Bach
145:Anna Magdalena Bach
71:Anna Magdalena Bach
1858:Grove Music Online
1840:Manuscript Sources
1637:2020-10-26 at the
1630:Altena, James A.
1606:2009-09-04 at the
1546:Badiarov, Dmitry.
1529:2011-07-24 at the
1473:Bromberger, Eric.
1417:Sanderson, Blair.
1259:2013-03-25 at the
1091:
998:World Trade Center
568:
324:
314:
262:Abbey Road Studios
235:
2419:Solo cello pieces
2401:
2400:
1904:Cello Suite No. 6
1900:Cello Suite No. 5
1896:Cello Suite No. 4
1892:Cello Suite No. 3
1888:Cello Suite No. 2
1884:Cello Suite No. 1
1554:. 29 August 2010.
1500:NĂĽrtinger Zeitung
1493:Finckh, Eckhard.
1280:de Acha, Rafael.
1068:
879:
861:
843:
825:
807:
789:
706:
584:
435:Julius Goltermann
385:Dmitry Badiarov.
371:Sigiswald Kuijken
115:
114:
16:(Redirected from
2436:
2372:Switched-On Bach
2227:The Art of Fugue
2053:
2052:
1974:
1963:orchestral works
1952:
1945:
1938:
1929:
1847:: Scores at the
1823:
1810:
1804:
1803:. 23 April 2006.
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1699:
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1687:. Archived from
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1389:
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1382:
1350:
1344:
1332:
1326:
1319:Mellers, Wilfrid
1316:
1310:
1297:Dalkin, Gary S.
1295:
1289:
1278:
1272:
1250:
1106:
1105:
1101:
1070:
1069:
926:
925:
924:
923:
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906:
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896:
892:Suite No. 4 in E
881:
880:
863:
862:
845:
844:
827:
826:
809:
808:
791:
790:
708:
707:
586:
585:
463:Leopold Godowsky
367:
204:Monophonic music
103:
102:
100:
94:
92:
67:
37:
21:
2444:
2443:
2439:
2438:
2437:
2435:
2434:
2433:
2404:
2403:
2402:
2397:
2384:
2338:
2240:
2204:
2180:
2142:, BWV 1046–1051
2127:Triple Concerto
2097:
2054:major, BWV 1031
2050:
2049:
2018:
1975:
1970:
1956:
1923:Mutopia Project
1831:
1826:
1811:
1807:
1792:
1785:
1776:
1772:
1762:
1760:
1758:libres.uncg.edu
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1639:Wayback Machine
1629:
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1608:Wayback Machine
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1587:
1583:
1574:
1572:
1570:The Independent
1563:
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1545:
1541:
1531:Wayback Machine
1521:
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1482:Wayback Machine
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1296:
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1261:Wayback Machine
1251:
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1160:
1121:cello da spalla
1103:
1099:
1098:
1083:
1078:
1077:
1076:
1075:
1074:
1071:
1064:
1061:
974:French overture
966:
922:
917:
916:
915:
914:
913:
904:
903:
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898:major, BWV 1010
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487:
431:Joachim Draheim
423:Robert Schumann
404:
391:
346:German cellist
306:
223:
200:Wilfrid Mellers
147:manuscript was
98:
96:
90:
88:
86:
77:
73:'s manuscript:
50:
35:
28:
23:
22:
15:
12:
11:
5:
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2296:
2289:
2286:Feel My Rhythm
2282:
2275:
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2256:
2248:
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2239:
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2196:
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2166:
2161:
2151:
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2136:
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2080:
2079:
2078:
2073:
2068:
2062:
2057:
2045:
2039:Flute Sonatas
2037:
2032:
2026:
2024:
2020:
2019:
2017:
2016:
2011:
2006:
2005:
2004:
1999:
1994:
1992:Partita No. 1
1983:
1981:
1977:
1976:
1967:transcriptions
1957:
1955:
1954:
1947:
1940:
1932:
1926:
1925:
1916:
1914:MIDI Sequences
1911:
1881:
1875:
1866:
1860:
1851:
1842:
1837:
1830:
1829:External links
1827:
1825:
1824:
1819:The New Yorker
1805:
1783:
1770:
1741:
1734:
1716:
1708:Siblin, Eric.
1701:
1676:
1655:
1616:
1590:
1581:
1566:"Edmund Kurtz"
1556:
1539:
1515:
1510:. 8 May 2013.
1486:
1466:
1440:
1409:
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1327:
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1226:Anna Magdalena
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989:Paul Tortelier
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443:Joseph Joachim
439:Clara Schumann
403:
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336:Anna Magdalena
305:
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284:for his album
222:
219:
194:, and a final
154:As usual in a
113:
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69:Title page of
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2112:
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2100:
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2082:Trio Sonatas
2081:
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2015:
2012:
2010:
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1998:
1995:
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1985:
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1982:
1978:
1973:
1968:
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1959:Chamber music
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1800:The Telegraph
1796:
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1737:
1735:9780253218858
1731:
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1720:
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1712:
1705:
1702:
1691:on 2020-09-19
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1497:(in German).
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1218:Martin Jarvis
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1155:soprano clefs
1152:
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1145:
1144:Watson Forbes
1141:
1137:
1132:
1130:
1129:viola pomposa
1126:
1122:
1117:
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1111:
1110:Ă cinq cordes
1096:
1087:
1080:
1060:
1050:
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929:
928:
921:
910:
891:
871:
853:
835:
834:4 – Sarabande
817:
799:
798:2 – Allemande
781:
768:
765:
762:
759:
757:
754:
752:
749:
747:
744:
742:
739:
738:
737:
734:
730:
729:key signature
725:
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715:
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329:
322:
318:
310:
303:
301:
299:
295:
292:won the 1998
291:
290:János Starker
287:
283:
280:won the 1985
279:
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272:
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207:
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197:
193:
189:
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177:
173:
169:
168:baroque dance
165:
161:
157:
152:
150:
146:
142:
138:
137:
136:Kapellmeister
132:
128:
124:
120:
110:
106:
84:
80:
76:
72:
66:
61:
58:
53:
48:
43:
38:
33:
19:
2377:
2370:
2363:
2358:Back to Bach
2356:
2349:
2226:
2218:
2139:
2126:
2008:
1845:Cello Suites
1817:
1812:Ross, Alex.
1808:
1798:
1778:
1773:
1763:13 September
1761:. Retrieved
1757:
1744:
1725:
1719:
1710:
1704:
1693:. Retrieved
1689:the original
1679:
1671:
1648:
1642:
1611:
1584:
1573:. Retrieved
1569:
1559:
1551:
1542:
1534:
1533:(in Dutch).
1518:
1498:
1489:
1469:
1457:. Retrieved
1453:
1443:
1435:
1428:. Retrieved
1422:
1412:
1401:. Retrieved
1397:
1387:
1365:(2): 11–19.
1362:
1358:
1348:
1338:
1330:
1322:
1314:
1306:
1301:Cello Suites
1300:
1299:"J.S. Bach:
1293:
1285:
1276:
1269:Stanford.edu
1268:
1229:
1215:
1167:
1148:
1133:
1118:
1109:
1092:
1009:
1006:
982:
971:
967:
919:
911:
901:
816:3 – Courante
726:
723:
719:
643:
595:
548:
543:
539:
536:
488:
471:
467:counterpoint
460:
456:Joachim Raff
454:
446:
416:
405:
402:Arrangements
395:Edmund Kurtz
393:The cellist
392:
375:Ryo Terakado
359:
355:
353:
348:Michael Bach
345:
326:Unlike with
325:
297:
285:
275:
250:Pablo Casals
247:
236:
215:Pablo Casals
208:
162:, after the
153:
148:
134:
119:Cello Suites
118:
116:
108:Instrumental
74:
49:1007 to 1012
40:Cello Suites
2429:1720s works
2424:1710s works
2245:Adaptations
2234:discography
1672:Tutti Celli
1503: [
1136:early music
852:5 – Bourees
780:1 – Prelude
598:arpeggiated
514:Galanteries
2408:Categories
2307:Lady Lynda
2229:, BWV 1080
2221:, BWV 1079
2201:(doubtful)
2129:, BWV 1044
2067:(doubtful)
2056:(doubtful)
1695:2018-02-17
1650:ArkivMusic
1612:JSBach.org
1575:2020-05-29
1403:2022-06-21
1238:References
1216:Professor
1138:and using
552:scordatura
544:galanterie
540:intermezzo
304:Manuscript
111:Cello solo
57:J. S. Bach
2267:Ave Maria
2103:Concertos
1459:March 25,
1430:25 August
1371:0005-3600
1195:Sarabande
1185:Allemande
1161:(G above
1038:Sarabande
1028:Allemande
947:Sarabande
937:Allemande
870:6 – Gigue
756:Sarabande
746:Allemande
733:Classical
673:Sarabande
663:Allemande
623:Sarabande
613:Allemande
509:Sarabande
499:Allemande
485:Structure
461:In 1923,
421:in 1826,
258:Barcelona
243:autograph
180:sarabande
172:allemande
2260:Alphabet
2051:♭
2023:Ensemble
1965:by, and
1635:Archived
1604:Archived
1527:Archived
1478:Archived
1424:AllMusic
1379:41640128
1257:Archived
1190:Courante
1163:middle C
1033:Courante
994:Yo-Yo Ma
942:Courante
905:♭
895:♭
751:Courante
668:Courante
618:Courante
526:gavottes
522:bourrées
504:Courante
479:charango
389:Editions
356:da gamba
278:Yo-Yo Ma
192:gavottes
188:bourrées
176:courante
158:musical
117:The six
95:and 1723
85:between
82:Composed
18:Bwv 1007
1969:after,
1921:at the
1644:Fanfare
1288:. 2012.
1271:. 2012.
1200:Gavotte
1180:Prelude
1173:D major
1112:, only
1102:⁄
1043:Gavotte
1023:Prelude
1016:BWV 995
952:Bourrée
932:Prelude
909:theme.
761:Bourrée
741:Prelude
658:Prelude
650:cadenza
648:-based
608:Prelude
518:minuets
494:Prelude
448:Fanfare
412:BWV 995
383:luthier
221:History
190:or two
186:or two
184:minuets
164:prelude
156:Baroque
97: (
89: (
2343:Albums
2186:Suites
1732:
1670:. In:
1601:BWV995
1377:
1369:
1202:I / II
1045:I / II
954:I / II
763:I / II
680:I / II
678:Minuet
630:I / II
628:Minuet
601:chords
516:: two
364:spalla
332:urtext
182:, two
141:Köthen
2210:Fugal
2147:No. 5
2002:No. 3
1997:No. 2
1871:from
1754:(PDF)
1507:]
1375:JSTOR
1206:Gigue
1125:viola
1049:Gigue
978:fugue
958:Gigue
767:Gigue
684:Gigue
646:scale
634:Gigue
532:Gigue
340:slurs
211:Ă©tude
196:gigue
160:suite
127:cello
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