Re: Bach and de cello suites


[ Follow Ups ] [ Post Followup ] [ TubeNet BBS ] [ FAQ ]

Posted by Klaus on August 15, 2002 at 01:49:15:

In Reply to: Bach and de cello suites posted by Brandon Ostrom on August 14, 2002 at 23:31:21:

(This posting is too long to be digestable by little Mick and his comics only fellows).

The switching between clefs has no musical significance at all. It is solely a matter of avoiding an "overflow" of ledger lines. Which for some people eases up the reading process, and which certainly is an advantage from an engraver's point of view.

Bowing marks:

The sharp edged bracket ] "laid down" designates a downstroke, where the frog end of the bow is put on the string. This is considered to give a heavy emphasis to the note.

The V designates an upstroke, where the tip end of the bow is placed on the string. This is considered to give a lighter note.

(Disclaimer: this is a very simplified overview of stroke options. Accomplished string players can do anything with any stroke anywhere on the bow).

The variance in stemming of the A's in the bars 33 through 36 of the G major prelude is not just a matter of the Icking edition. It is also in my Breitkopf & Härtel version.

Here Bach exploits the fact, that this A can be played as an open note on the top string of the cello. His notation indicates, that the "stems down" notes on the 1st and 3rd sixteenth of each beat are played with downstrokes on the next string (D), whereas the "stems up" notes are played with upstrokes on the open A string.

This gives variance in timbre to this passage. It also makes it possible to analyse, which "melody" line Bach wants to be highlighted. One could consider the downstem notes as the melody walking along in eights, whereas the upstem notes would be interjected afterbeats.

This effect does not come naturally to brasses. One can do something with air and tongue. Another option, that I have not tested out very much, would be to play the upstem notes with the fourth valve on euph and bone. Or with the 3rd valve on F tubas.

I have not seen the urtext from Bach's hand. But I have read discussions on it, from which I would deduce, that aside from dynamics, articulations, and legato slurs (maybe also a few bowing marks) any other markings are additions from editors. The gestalting of the phrasing should be based on analyses of the harmonies, rhythms, and periods of the written note text.

Klaus


Follow Ups: