Archive PRODUCTION

ARC 73188 198688 SAPM

Archive PRODUCTION

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HISTORY OF MUSIC DIVISION OF THE DEUTSCHE GRAMMOPHON GESELLSCHAFT

IX. RESEARCH PERIOD

The Works of Johann Sebastian Bach SERIES I: CHAMBER MUSIC

Suites for Violoncello solo No. 5 in C minor, BWV1011

Prelude • Allemande • Courante • Sarabande • Gavotte • Gigue

No. 6 in D major, BWV 1012 Prelude • Allemande • Courante • Sarabande • Gavotte • Gigue

Pierre Fournier, Violoncello

IX. RESEARCH PERIOD, SERIES I ■ J.S.BACH: SUITES FOR VIOLONCELLO SOLO NO. 5 IN C MINOR, BWV 1011, AND NO. 6 IN D MAJOR, BWV 1012 LONG PLAY. RECORD @0

Arch i ve PRODUCTION HISTORY OF MUSIC DIVISION OF THE DEUTSCHE GRAMMOPHON GESEILSCHAFT

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IX. RESEARCH PERIOD

THE WORKS OF JOHANN SEBASTIAN BACH SERIES I: CHAMBER MUSIC

Suites for Violoncello solo

No. 5 in C minor, BWV 1011

No. 6 in D major, BWV 1012

Fifth Suite, in C minor This Suite is intended to be played on a cello whose highest string has been tuned down a tone to G. This makes it possible to play certain chords in the key of C minor which are otherwise un¬ playable. Generally, however, the work is played nowadays on a normally-tuned instrument, August Wenzinger, among other editors, having prepared for his edition an arrangement which enables the work to be played thus. In this Suite Bach chose for the Prelude a musical form substantially dif¬ ferent from those of the Preludes in the Suites which had gone before. He adopted the specific stylistic form of an orchestral piece of his day, with the object of reproducing its salient char¬ acteristics in music for solo cello. Ballets written for the French theatres and the orchestral suites derived from such works were preceded by an Overture in the French style. This was made up of two parts. The Overture commenced with a pathetic introduction, which was followed by an animated fugue in three-eight time. In this Suite for cello we find the expressive introduction of a French Overture mirrored in the tranquil open¬ ing of the Prelude. Its second part then in fact begins with a typical rapid fugal theme, which arrives at the dominant key after eight bars as in a fugue proper. The initial effect is, therefore, of a fugue. Were it not paradoxical one might des¬ cribe this section as a single-line fugue, for the further course of the music remains true to this idea, unfolding motives and variants of the theme in various keys. — The Allemande reverts to the French style of the Introduction, with dotted rhythms which lend the movement an air of elegant pathos. — The French style of this Suite is also emphasized in the second dance movement, which is a typically French Courante in three-two time, such as Bach also wrote on occasion in his keyboard works. Once again artistry of the highest order has enabled a style of composition which would appear to lie solely within the province of multi-instrumental performance to be transferred to the medium of an unaccompanied string instru¬ ment. The concluding bar of each section contains the shifting of accents typical of courantes of this nature, what is nominally a three-two bar becom¬ ing one in six-four. — The Sarabande establishes the character of this dance by its simple motion, the alternation between the first and second part of each bar being emphasized by the interval steps chosen. The second part of the bar always contains notes which lead into the tonality of the

succeeding bar. — As additional movements in the forms of what in Bach's day wore newer dances he chose Gavottes for both the Fifth and Sixth Suites — two Gavottes in each case. The Gavotte, originally a folk dance, played an important part in ballets and operas, from there finding its way into purely instrumental music and into the suite. Its steps necessitate a prominent upbeat; this has the length of half of one of the two-two bars, giving the rhythm a happy lilt. "The hop is a real characteristic of these Gavottes, not the walking step" remarked Mattheson. Even in a minor key, as in this Suite, the Gavotte retains its spirit. For the cello Bach evolved an animated style of figuration founded on the basic rhythm of the dance. The second Gavotte is more animat¬ ed, triplets giving the impression of nimble speed. In both Gavottes the grouping together of four-bar phrases is always perceptible, even though some of the "seams" are covered by melodic passages. — The Gigue of this Suite is one of the so-called "Canary Gigues"; it is in three-eight time, with a vigorous dotted rhythm. Especially effective are a few places where a note is held for several beats, as though for a dancer to execute an especially striking step.

Sixth Suite, in D major

Bach composed the Sixth Suite for a five-stringed instrument, tuned in fifths, the Viola pomposa. Its range when playing in the first position was therefore about a quarter as much again as that of the cello. The overall compass of the instru¬ ment, which Bach's figuration made good use of, is therefore correspondingly greater. It ranges over more than three octaves. Performing this work on the four-stringed cello is therefore a task which demands the utmost virtuosity. The Prelude is designed to unfold over the course of a long process of development — a fact which is evident to the listener from the first bars onward. As in the rapid Italian Gigue twelve-eight time is employed. Twice Bach place two bars together, the second being an echo of the first. In this way he aroused expectations that a large structure is being built up, a fact confirmed by the extensive figuration which follows. The first bar contains a figure conceived in terms of a stringed instru¬ ment on which the same note can be played on different strings. The repetition of this bar on various other notes (and therefore on other strings) provides milestones which help the listener to follow the road Bach was travelling along. The

broad crescendo in the second half of this move¬ ment leads to a recurrence of this motive and to a new, strongly pathetic final crescendo. — The Allemande of this Suite is an "Allemande grave" which, in broad augmentation and rich flourishes of rapid notes, contains almost twice as many notes in its first bar as does the simple Allemande of the First Suite. This last Allemande is a truly virtuistic piece; Bach here drew upon the tradition of chordal playing of earlier German masters of the violin, applying their techniques to the lower stringed instrument. He wrote comparable Alle- mandes in his Sonata for violin solo in B minor, and in the Partitas Nos. 3 and 4. The basic pulse is twice as slow as in simple allemandes. Bach could have converted each bar into two bars, were it not that he preferred the use of a very broad four-four bar. — The Courante (as in other Suites) is in the style of an Italian Corrente, whose motion is, however, determined by the semiquaver figures which appear after a few bars. The movement begins like a "Concerto" with an upward-climbing arpeggio motive; at the beginning of the second section it is transformed into a descending pass¬ age. — The Sarabande contains many chords and r%ultiple-stoppings, and preserves the most simple, characteristic features of the old dance. The com¬ bination of its stepwise form with most demanding fingerboard technique of playing in several parts provides both a challenging task for the performer and the especial attraction of the piece for the listener. — The same can be said of the two Gavottes. The simple characteristics of the dance and virtuistic tasks for the player go hand in hand. Both Gavottes are in the key of D major; the first is repeated after the second has been play¬ ed. — The Gigue which concludes this Sixth Suite and the entire cycle is written in six-eight time. It is moderately rapid, greater animation soon arising with the appearance of semiquaver pass¬ ages. After four powerful bars have opened the movement there begins the elegant type of phras¬ ing often found in gigues, the first and second of each group of three quavers being slurred in one bow. Four totally different styles of passage work appear in even the first section of the movement. They are brilliantly linked, demonstrating once more Bach's skill in construction. The technical possibilities of the instrument give rise to types of figuration which are at the same time charac¬ teristic of the essential nature of a gigue, and apt vehicles for carrying forward the harmonic deve¬ lopment of the movement. Erich Doflein

Please observe: Stereo-records 33 rpm can only be played with a special stereo cartridge, which puts a pressure of about 5 grammes on the record. (Radius of the stylus point; about V2 mil.) They should in no case be played with the usual pick-up with micro sapphire.

ARC 73188

Printed in Germany • Imprime en Allemagne • Impreso en Alemania

7 + 63

198688 SAPM

19

86

88 S

AP

M

LONG PLAYING RECORD 33 V3

II Name:

BACH, Johann Sebastian

born: died: on, 3/21/1685 on, 7/28/1750

ot: Eisenach ot: Leipzig

2

Title:

6 Suites No: Key: Opus,

Type of Composition: Complete work: NO:

see reverse side nS,rT^ellosolo Place of composition: Year:

1720

Text • of firs, performance: Year:

°r'9%eutsclie Staatsbibl. Berlin Place of firs, publication:

I Original Criti¥aulrGirtimmeri/,l:

E. H. Muller v. Asow

Place of publication:

1944

"“^linger Edi,it¥acmrnik^o^tlie manuscript No,

4 SolOiStS:

Pierre Fournier, Violoncello

Conductor: Orchestra, Size:

Matteo Goffriller, Venezia 1722 Choir: Size:

!

Place: ^KlH-Heinz Schneider

Research period No=x

The Works of Joh. Seb. Bach

Hall or studio: T 6 C h Heinz0 Wildhagen

Series No: j

see reverse side 6 12" Sides aS^v<m786—88/ 14 686—88 arc 73 186—88/198 686—88

LONG PLAYING RECORD 33 ]/3 FOR YOUR CONVENIENCE IT IS RECOMMENDED TO CUT OUT THE ABOVE INDEX CARD

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FROM THE HISTORY OF EUROPEAN MUSIC

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AGES (1100—1350,

In order to provide a clear survey of the repertoire, the ARCHIVE PRODUCTION has been divided into twelve “research periods," which correspond to the successive phases of musical history. These periods have again been divided into sections comprising groups of works, types, individual composers, etc.

IXth Research Period

The Works of Johann Seb

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Archive PRODUCTION

COMPOSER:

ARC 73188 SAPM 196 668 « 12/22/1960

PRODUCTI ECORDING: Wildhogc

Pierre Fournier, violoncello

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UNAUTHO/?/2

Archive production

COMPOSES:

s for unaccompanied Violoncello . 6 In D major, BWV 1012 (26’27)

ARC 73188 b SAPM 198 688 b

RECORDING:''' 12/28-29/1960

RECORDING:

Performance,:

Pierre Fournier, violoncello

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