(Pablo Casals in his memoir " Light and shadow on a long road ", Frankfurt / Main 1971) The everlasting devotion to Creator God is also the creative Johann Sebastian Bach s based. "Soli deo gloria", but for the glory of God he would write his works. This applies to the spiritual compositions as well as the profane, for vocal works, as well as for instrumental music. In many works of Bach weaves references to a god, often with the aid of the usual baroque symbolism of numbers. This formulaic allusions were the listeners of his time familiar, we, however, are not readily apparent that Bach about the remarkably frequent use of the number six in the orders of his works - like the six sets of the six cello suites - an allusion to the number of Days of Creation formulated.
Pablo (Pau) Casals (1876-1973)
If we assume that the baroque artist created with the full maturity of his work as a symbol of divine perfection, we may If the call Cello Suites BWV 1007 to 1012 comforted by Johann Sebastian Bach as sounding credo. Never before has a composer had written for the instrument works of such perfection, of comparable complexity and harmonic polyphony. Anyone who closes his eyes while listening, is hard to believe that only one solo instrument is played. In the six Bach suites require the performer playing technical mastery, exceptional situations, finger and bow technique, mastery of three-and four-part chords and outstanding ability to differentiated articulation. The degree of difficulty increases from suite to suite, like a
"Gradus ad Parnassum , And thus the wealth of design elements. Four of the suites are major, two minor, for the first and the last suite Bach chose one cross key. The passage through the keys of the suite to suite reinforces the impression of "advancement" through to bright D major, is the key to the baroque doctrine as the key of life, encouraging. The idea of Bach, to compose a work of such proportions for cello solo, was new in his time, except for Violin and Viola da Gamba already existed a small solo repertoire. Not new, however, was the shape of the suite as a series of dance movements from Allemande, Courante, Sarabande and Gigue. Bach, however, it is possible, if possible within these limits to develop great design freedom and interpret the new tradition: Each suite he put forward a Prélude and inserted between the traditional dances such as were in his time "modern" as Minuet, Gavotte and Bourrée.
Bach wrote the cello suites in a period that was perhaps the happiest of his life in general. Thirty-two years he had in December 1717 over the post of music director and director of the royal college in Köthen. There, the composer felt so well that he "vermeinete to decide its lifetime can also" here. Prince Leopold of Anhalt-Köthen
, who was with Bach's office just as twenty-three years, had the intention to create a Court of the Muses in Köthen and build first an excellent court orchestra. He hired the best musicians, many of them former members of the Berlin court orchestra, the frugality of the soldiers of King Friedrich Wilhelm I had fallen victim. Bach's task was to write pieces for evening concerts and festive occasions, this court orchestra to rehearse with and to direct the performances. From the Köthen period in addition to the cello suites are the Brandenburg concertos, the violin and piano concertos, the six English and French Suites for harpsichord and the six solo sonatas for violin. the court musicians Leopold were two excellent cellist. One of them was the eminent virtuoso Christian Ferdinand Abel for the Bach cello suites probably composed. In Bach's time, had the four-string cello
whose strings in C - G-d-a were voted enforced. To extend the tonal and technical possibilities, Bach was at the top of the fifth suite a vote on g-string down. The sixth suite in D major, written for a special cello of his time: This instrument had an extra fifth string in e, the so-called "Cello à cinq cordes" or "Viola pomposa. This expands the sound space of the instrument significantly and now includes more than three octaves. From the artist, which this suite on a normal four-string cello, but this requires an extraordinary ability.
Is it difficult to base this high a burden that the Cello Suites BWV 1007-1012 were hidden after Bach's death over 150 years a large audience? In the concert hall they were virtually non-existent, although in the 19th Century, twelve different editions of the works appeared, indicating that they were well studied by cellist and played.
Only a lucky coincidence meant that they are heard for the past 100 years in the concert. To thank the cellist Pablo Casals . This came in 1890 in a music shop in Barcelona on an edition of the plays, and was immediately fascinated. Twelve years he studied them before he first played in the concert. In the 1930s he took the suits then click on the first record he himself confessed to have studied more than fifty years time and again with these pieces. In the attempt to grasp the almost superhuman perfect art of Bach in words, Casals appeared incidentally only one sphere be adequate to the divine. "The miracle is taking Bach undermine in any other art. Human nature, until it receives divine Profile the wings of eternity give the transitory nature, the divine things humanize, deifying the human things, this is the work of Bach "
© 2006 Christiane Krautscheid. (First published: program of the Berliner Philharmoniker No. 74, 05/28/2006)
TRACKLIST
CD 1, Track 1: Cello Suite No. 1 in G major, BWV 1007 I. Prelude
JOHANN SEBASTIAN BACH (1685-1750)
CD 1 [56:16]
SUITES FOR SOLO CELLO (BWV 1007-1009) FOR CELLO SUITES (BWV 1007 - 1009)
SUITE NO. 1 G MAJOR, BWV 1007 / SUITE NO. 1 IN G MAJOR, BWV 1007
Ex. / recorded in 1938
01 I. Prelude (moderate) [02:26] 02
II. Allemande (very moderate) [03:40] 03 III. Courante (Allegro non troppo) [2:32] 04 IV. Sarabande (slow) [02:22]
05 V. Menuetto I & II (Allegro moderato) [3:14] 06
VI. Gigue (Vivace) [1:48]
SUITE NO. 2 d-moll, BWV 1008 / SUITE NO. 2 IN D MINOR, BWV 1008
aufg. / recorded in 1936
07 I. Praeludium [3:41] 08
II. Allemande [3:54] 09
III. Courante [02:17]
10 IV. Sarabande [04:06]
11 V. Menuetto I & II [03:19]
12 VI. Gigue [02:32]
SUITE NR. 3 C-DUR, BWV 1009 / SUITE NO. 3 IN C MAJOR, BWV 1009
aufg./recorded in 1936
13 I. Praeludium [03:26]
14 II. Allemande [03:46]
15 III. Courante [03:14]
16 IV. Sarabande [03:29]
17 V. Bourree I & II [03:23]
18 VI. Gigue [03:00]
CD 2 [71:53]
FÜR Cello Suites (BWV 1010-1012) FOR CELLO SUITES (BWV 1010-1012)
SUITE NO. 4 Es-Dur, BWV 1010 / Suite No. 4 IN E FLAT MAJOR, BWV 1010
aufg. / recorded in 1939
01 I: Prelude (Allegro) [04:12] 02
II: Allemande (Allegro moderato) [03:45] 03
III: Courante (Allegro non troppo) [3:53] 04
IV: Sarabande (Lento) [04:06]
05 V: Bourree I & II [03:37] 06
VI : Gigue (Vivace) [02:34]
SUITE NR. 5 C-MOLL, BWV 1011 / SUITE No. 5 IN C MINOR, BWV 1011
aufg./recorded in 1939
07 I: Prelude (Adagio - Allegro moderato) [07:17]
08 II: Allemande (Allegro moderato) [03:17]
09 III: Courante (Allegro non troppo) [02:02]
10 IV: Sarabande (Lento) [02:43]
11 V: Gavotte I & II [04:29]
12 VI: Gigue (Allegretto) [02:19]
SUITE NR. 6 IN D-DUR, BWV 1012 / SUITE No. 6 IN D MAJOR, BWV 1012
aufg./recorded in 1938
13 I: Prelude (Allegro moderato) [5:05]
14 II: Allemande (Quasi adagio) [07:30]
15 III: Courante (Allegro non troppo) [03:43]
16 IV: Sarabande (Lento) [04:17 ]
17 V: Gavotte I & II (Allegro moderato) [03:03]
18 VI: Gigue (Vivace) [03:54]
Pablo Casals, cello
(P) + (C) 2003, ADD
beginning of the Cello Suite No. 1 in G, First Page of the manuscript by Anna Magdalena Bach
on his 85th Birthday Pablo Casals was forced by an American publisher, he should finally get his autobiography on paper. Casals then waved modestly, what he had to happen because, as that would be worth the trouble, and who are already interested in the experiences of an old cello player. In other work he had to and I have no time for such nonsense. But quite as publicity-shy as it seems, Casals was no longer - on the contrary: He willingly could spend hours with any stranger journalists talk about his life, and then he told in detail about his childhood, his artistic career and his experiences during the two world wars. And it bothered him apparently little, if there were photographers always around him, who held his every move and every gesture of him, so that there are even 14 years after his death, a flood of Casals-table books, in view of which many a Star conductor should really be green with envy. Perhaps the most memorable image
successes are those that show Casals immersed in the game of his beloved cello suites by Johann Sebastian Bach: the face tense, concentrated listening to oneself, and then the next moment lost in thought every sound nachlauschend. Everything remains in the sphere of intellectual, physical exertion or of a struggle to cope with technical problems had nothing to do. What is visible in these images corresponds to the position just fine, as conceived Pablo Casals Bach's music and interpreted.
For the artist, Pablo Casals, there were two major tasks: First, there was his commitment to the cello suites of Bach. But far more important to him was the culture of his homeland. Difficult it was only when he was to outline the concept of 'home' firm, for Casals had several souls in his breast. Compared with the English state, he felt himself a Catalan - his first name he chose for himself instead of always the Catalan form 'Pau' Pablo '. But he was as far as Spain, that he had to do with true love in the English royal family, although he simultaneously supported the English Republicans in their efforts towards a democratic order. When the English Civil War of the apparent victory of General Franco, Casals emigrated to southern France in the Pyrenees-site Prades. In 1955 he moved to the island of Puerto Rico, where his mother came from. His beloved Spain, he should not see each other again.
Casals was an idealist, and for that idealism out to the weaknesses and contradictions his actions are explained. As soft after the Second World War, the Franco regime did not want to and not a nation committed to the freedom of Spain, Casals refused to ever again perform in public. However - after three years of silence, he agreed to have at least listen to his exile in Prades paying guests. A new summer festival was born - a festival that should be enough according to the will of its founder, not only artistic aspirations, but also intended as a demonstration for a free Spain was. But before long, that here on the border to Spain gathered those illustrious festival community, which are also found in Bayreuth and which the political attitude of the dictator General Franco was perhaps not so unappealing. Source:
Wolfgang Lempfrid: The cellist Pablo Casals
is This post originated as a transmitting manuscript for the Germany wireless, K PEP
Jan van Kessel (* 1626, Antwerp, + 1679, Antwerp): Concert of Birds , Koninklijk Museum voor Schone Kunsten, Antwerp
El Cannot Dels Ocells (German: "The singing of the birds') is an old Catalan folk and Christmas songs. In this song, celebrating more than thirty small and large bird species, the birth of Christ. The song is in the melody solemnly carried and set in a minor tone. It covers from the lowest to the highest tone a very large extent note. A parody version of this song was in 1705 during the visit of English King-designate and Archduke of Catalonia,
Charles III., later when Charles VI. Emperor of the Holy Roman Empire of the German nation, was launched in Barcelona in circulation. Pau Casals started all his concerts in exile since 1939 with the song, like for example the concert on 13 November 1961 at the White House before Jackie and John F. Kennedy and invited guests in an arrangement for cello and piano. In this way, this song in a similar way as the Virolai de Montserrat addition to the official Catalan anthem Els Segadors of a Catalan national symbol, a kind of secret national anthem.
Pau Casals plays "El Cannot del Ocells" (Youtube)
The notes of the cello suites for free download
in
International Music Score Library Project search for JS Bach's cello suites at JPC (many connected !)
CD Info & Scans (tracklist, cover, booklet, samples, Bonus Pictures), 40 MB
Read the file "Download links.txt" for links to the Ape + Cue + Log Files
CD 2, Track 12: Cello Suite No. 5 in C minor, BWV 1011, VI. Gigue
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