JAVS Summer 2011

Some fundamental concerns regarding the suites include: 1. When exactly the suites were written. Scholars are certain they were written in Cöthen between 1717 and 1723. Did Bach continue to work on them after his move to Leipzig? Were they written before or after the violin sonatas and partitas were completed in 1720? The organization of the cello suites seems to argue that they may have been written after the much more loosely organized violin sonatas and partitas—but scholars are not sure! 2. For whom did Bach write these remarkable pieces? Christian Bernhard Linike, 8 cellist, or Christian Ferdinand Abel, gambist and cellist; both appeared at the Cöthen court from Berlin around 1716—a year before Bach arrived. In truth, whomever they were written for must have been a fine musician. 3. We do not know for which instrument the sixth and last suite was written—viola pomposa or violoncello piccolo. Whichever it is, this poses problems and multiple possible solutions to both cellists and violists. 4. Scholars and performers alike continue to re-evaluate Baroque performance practice vis à-vis these suites regarding choice of tempo, ornamentation, realizations, vibrato, and multiple other stylistic concerns. Discussions will continue far into the future, particularly if one is seeking an “authentic” performance experience. The many shared understandings include: 1. Bach’s knowledge and understanding of the fundamental workings of the stringed instruments of his day comes close to encyclopedic! His use of resonation, 9 bariolage, sequence, variation, pedals, chords, and other physical possibilities on a stringed instrument are as complete as his treatment of fugue in Art of the Fugue or the cycle of major and minor keys in the Well-Tempered Clavier . 2. Bach was master of the international styles, forms, common ethos, and practices of his time. These included the French Overture, variation and suite forms, concerto styles, keyboard forms, the vocal styles (sans opera), and harmonic practices—including the Neapolitan chord (used in the fifth suite to produce some jaw-dropping dissonances)—in common use during the Baroque period! 3. Bach’s music was never “unknown” or lost. His music was simply not widely disseminated! He missed the appearance of the popular publishing houses by a generation (see footnote 2). 4. Bach’s music is powerful and compelling, and it explores the contrasts between rich and expressive versus minimal, thin, and stark. For an example of minimal, thin, and stark, examine the Sarabande of Suite No. 5, which is almost anorexic. Yet, the Sarabande in the sixth suite is rich and Rubenesque.

V OLUME 27 S UMMER 2011 O NLINE I SSUE 6