Suite in D Major for Unaccompanied Cello
BWV 1012
Johann S. Bach, 1685-1750
Annotations for Eliot Fisk Concert, January 15, 1989, prepared by Ron Purcell, Sherman Oaks, California:
The Sonatas (Partitas or Suites) for unaccompanied violin and 'cello were written during Bach's Cöthen period, 1717-1723, at the court of Prince Leopold of Anhalt-Cöthen. In a letter to Johann N. Forkel (Bach biographer) C.P.E. Bach, son to Johann, commented on his father's skill in playing both the violin and the viola - he played them "cleanly and penetratingly, and thus kept the orchestra in better order than he could have done with the harpsichord." And later he remarks, "He understood to perfection the possibilities of all stringed instruments."
This also includes the viola pomposa, sometimes to referred to as violoncello piccolo. A curious Baroque instrument with five strings tuned C, G, D, a, e' (similar to the 'cello which does not have the first string high e'). The sources during Bach's time say that the instrument was between the viola and 'cello in size and that it was held on the left arm in front of the chest and supported with a ribbon strap around the neck. [A peculiar sidenote here: Franz Schubert , in 1823, wrote a sonata for another curious instrument called the Arpeggione. It's described as a guitar-violoncello in that it is tuned like a guitar with six strings yet played with a bow.]. With the extra string e' the player was capable of executing more easily the high and fast passages set before him. And with the lower profile of the arched bridge this permitted the player to sustain chords. It is known that Bach requested several of these instruments for his orchestra from the Leipzig string maker, Hoffman. In fact, the inventory for the Cöthen Chapel during Bach's tenure lists one of these instruments in its catalog.
The music in the sixth 'cello suite, [BWV 1012], calls for such an instrument. The suite opens with a Prélude in 12/8 meter with an alternating "D" unison between two strings. This motive is developed and varied throughout the prelude. In drastic contrast, the Allemande which follows is one of the great examples of Bachian ornamentation. In the meter of 4/4 this stylistic movement resembling the outline of an allemand is punctuated, usually beats one and three, with chords, followed by extended passaggi. What should normally be a simple melodic design for a dance called an Allemande is now instilled with new and ornamental alterations infused with florid expression. The Courante, in a 3/4 meter, is conceived on paper as a linear line moving with great energy. The only harmony perceived by the listener are the broken chords. Yet, the work is layered as in the brisé style implying a quasi-contrapuntal texture. Bach's artistic character would not allow him to remain in one musical domain. In opposing the energy of the courante, Bach chose to present the Sarabande into a poetic rendering of an instrumental chorale. Gavottes I and II maintain the dance like features usually associated with this French peasant dance popularlized in the courts by Louis XIV: moderate, alla breve, and phrases - ending and beginning - in the middle of the measure. Some of the motivic elements of these two dances are heard in the final movement, the Gigue. Modeled on the French style, this gigue in 6/8 meter is somewhat fugal with wide intervals and florid scale passages. The opening subject is inverted and slightly ornamented in the second section. The rhythmic intensity of this movement brings to a close one of Bach's more creative works in this genre.
Ron Purcell
- International Guitar Research Archives
- California State University, Northridge
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