She also followed closely the Anna Magdalena Bach Manuscript, playing on guts strings, with a baroque bow, and the 6 th Suite on a 5 string cello. Many of Bach’s best-known compositions from the Cöthen period begin with a prelude; these include the first volume ofThe Well-Tempered Clavier,Part 1; the six English Suites; the six Partitas for harpsichord; four of the six works for solo violin (all three Sonatas and the last of the three Partitas); and all six of the Cello Suites. 3 in C major. She paces the 82 minutes with diligence, from the intensity of the Prelude in the Second Suite to the enigmatic Gigue of the Fifth Suite which concludes the entire album; Coming to the end of the second CD, it seems Weilerstein has carefully considered the path through these works, finding a magnitude of emotion. BACH CELLO SUITE N°6 - SOURCE III .
The Courante takes a moment to find its feet before becoming a dance of delight. As in the First Suite, Weilerstein knows how to create contrast, while the two Bourrées summon and release tension, creating a stepping stone on this pathway, leading naturally to the Gigue. Turning her attention to one of the cornerstones of the cello repertoire — Bach’s six suites, she brings a refreshing approach. His second recording of the Suites was played on the Servais Cello, and was released in 1992.
Weilerstein’s contemporary approach is respectful of the Baroque origins but brings a highly expressive performance. Well, on the one hand, not much has changed in Ma’s interpretation of the preludes and dances that incorporate the suites, nor did the first two versions were weak in any way, and can still hold their own in the catalog, 35 years after the first release. BACH CELLO SUITE N°6 - SOURCE II . Minuet I and II have a youthful glee and are uplifting, while the Gigue brings the suite to a conclusion with some unexpected turns, taking this sunny music momentarily into the shade, setting the scene for what is to come.
With Ma, one never forgets that these are dances, and even with some rhythmic liberties, the sustained beat remains as a strong anchor, which gives each dance movement its backbone. From the first notes of the First Suite’s Prelude, it becomes immediately obvious that this is the beginning of a well-considered journey. I am studying the piece and would like to see how it flows together, but I'm not much of a theory person ha ha. All rights reserved.
It covers classical music reviews, as well as in-depth guides and classical music news. Ma is using modern bow and strings, but similar to many of today’s period instruments specialists, his usage of the vibrato is sparse, only added as a decorating element or when it suits the musical phrase. The recording, made at Mechanics Hall, Worcester (Massachusetts), is in demonstrative level. and a sense of inner calmness not immediately apparent with Ma’s young self. Get our periodic classical music newsletter with our recent reviews, news and beginners guides. Despite the fourth suite being in the major, there is darkness throughout which works well with the surrounding minor tonalities. The first release (1983) was confident, technically superb and well recorded for the early digital age. The Third Suite, coming next in the first CD, opens with a sense of recitative in the opening Prélude. Can someone please provide a harmonic analysis of the first 35 measures of Bach's Cello Suite No. BACH CELLO SUITE N°6 - SOURCE I . This is Yo-Yo Ma’s third attempt at Bach’s 6 unaccompanied cello suites, and the question on everyone’s mind is “what’s different?”. Here, Notice how Yo-Yo Ma’s approach is quieter, inward-looking. The character of the Allemande is very different, with detailed but unfussy articulation, while the Courante is spirited, but sufficiently restrained. From the two approaches, Ma is the one that will bring a chill down your spine.