The Allemande following this flowing Prelude is an even more flowing two-in-a bar ₵ movement rather than the more typical 4/4, which is at a more moderate tempo, as the Allemandes of the 2 nd and 3 rd Suites. As we shall see, all the Preludes have this characteristic building to, or towards, a climax on a dominant pedal point, sometimes close to, at other times further away from, the end. The flowing and idyllic first Prelude in G major has a climax built around its dominant pedal point, in this instance D, shortly before the end. This is immediately apparent when comparing the structure and character of the six Preludes, let alone the thirty other movements of the Suites. In a similar way to the “Clavierübung” and other keyboard works by Bach, the cello Suites grow in musical dimensions and technical demands, starting with the relatively light-weight 1 st Suite to the infinitely larger build of the 6 th Suite.
The idea of studying and practising written finger exercises merely in order to acquire technical dexterity was foreign to Bach and the period in which he lived.
#TORRENT BACH CELLO SUITE 1 SERIES#
The rest of the series include such works as the Italian Concerto, French Overture and the Goldberg Variations not to mention the third part which includes some of Bach’s finest Chorale Preludes for organ. It is interesting to know that the six Partitas formed the first of a four-part series published under the title “Clavierübung” or “Keyboard practice” or “Keyboard studies”. Like the six so-called English Suites and the six Partitas, both written for keyboard, the six cello Suites each start with a substantial Prelude. Considering the period of history in which we are living and the fact that a united Europe and its evolution is a prominent part of our political thinking, it is interesting to note that the form of the Suite is a microcosm of the idea: Allemande from Germany, Courante or Corrente from France or Italy, Sarabande from Spain, the “galanteries” from France, “galanteries” sometimes including Polonnaise from Poland and finally Gigue from Ireland or England. In the cello Suites these were Minuets I & II for Suites I & II, Bourrées I & II for Suites III and IV and Gavottes I and II for Suites V and VI. Between the Sarabande and the Gigue the so-called “galanteries” were placed. Bach are Allemande, Courante, Sarabande and Gigue. Suites and want to hear them interpreted by a masterful musician.The four essential movements of the Suite as used by J.S. This box set is a must-have for all hornists who love the cello
That demonstrate horn-sensible articulation, phrasing, and ornamentationĬhoices that bring clarity to musicians who heroically toil with sixteenįeet of oily plumbing attached to their faces." Hornists' evolution of the Bach suites with his own transcriptions These recordings, Katzen has taken us a step further in the Practice rooms, recital halls, and on audition repertoire lists. Since then,īach's suites-or movements from his suites-have become staples in That was rich with both technical and musical workouts. That appealed to horn players woodshedding their low-horn skills and Wendell Hoss's transcriptions of the Bach cello suites added anĪccessible if not slightly simplified challenge to the horn repertoire Horn Call review of Katzen's Volume III, ", Well-thought, spectacularly performed and executed recording of theseĪs contributing reviewer, William Barnewitz wrote in his 2017 The Own transcriptions in the original keys, this is the most profoundly Spent 40+ years contemplating these magnificent works and creating his Recordings of the Bach cello suites on horn, treat yourself. If you haven't already heard Professor Katzen's sublime Recorded at the University of Arizona inĢ0, these discs were previously available as single volumesĬontaining two suites each, and now one can own the entire setīeautifully packaged with liner notes from all three discs, along with Orchestra, has released the definitive box set of Bach's Cello Professor Daniel Katzen, former second horn of the Boston Symphony Major, BWV 1010 Suite V in c minor BWV 1011 Suite VI in D major, BWV
Minor, BWV 1008 Suite III in C major, BWV 1009 Suite IV in E-flat Johann Sebastian Bach: Suite I in G major, BWV 1007 Suite II in d Jeffrey Haskell Recording Studio, Wiley Ross, recording, mixing, and Bach, Cello Suites on the Horn, BWV1107-1012. transcribed and performed by Daniel Katzen. transcribed and performed by Daniel Katzen." Retrieved from
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transcribed and performed by Daniel Katzen." The Free Library.
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