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Bach J. S. , 6 Suites for Violoncello solo BWV 1007-1012 HN666

113 עמודים מחיר: ₪ 199.00 מס' קטלוגי: 0132 הוסף לסל

Bach's six cello suites are cornerstones of the cellist's repertory. … This edtion has been made with the performer in mind and unlike many Bach editions … there are no awkward page-turns. … The Henle edition promises to be of most use to young students of the Bach Suites; it combines an historically informed editorial policy with performer-friendly presentation

Bach's six suites for unaccompanied cello, BWV 1007-1012, are generally thought to have originated in or around 1720 during his tenure as court chapel-master in Cöthen. It is fairly certain that he intended them to form the second part of a larger collection or complex of which the first was to be made up of the works for unaccompanied violin, BWV 1001-1006. All that can be said for certain, however, is that the latter pieces have come down to us in an autograph fair copy dated 1720 in Bach's own hand. Several Bach scholars, including Hans Eppstein, who edited the cello suites for the New Bach Edition (see below), regard the style and design of the suites as evidence for their date of composition relative to the solo violin pieces.

Drawing on the fact that the violin pieces consist of three sonatas and three partitas, the critical report to the NBA volume claims: "In the question of priority, precedence must be given to the [cello] suites for stylistic reasons, since they do not stretch and burst the bonds of their form as do the violin sonatas through their paired combination with the partitas" (Neue Bach-Ausgabe [NBA], vi/1, Kassel, 1958, pp. 62 f.). Viewed in this light, the cello suites were the earlier of these works. All the same, experience teaches us that stylistic arguments require corroboration from paper and handwriting analysis before they can be considered air-tight. This analysis has yet to be forthcoming. Nor do we know whether the suites were planned as a cycle all along, or whether they arose individually and were only later gathered into a collection. One item of evidence for the latter hypothesis might be the contrasting spelling of the title for the first movement of Suite 4 in source A , where it is referred to as a "Präludium" rather than the otherwise customary "Prélude.