DCCCXLII. BACH, J.S.: Suite #6 in D Major for Cello, BWV 1012

DCCCXLII. BACH, J.S. (1685-1750)

Suite #6 in D Major for Cello, BWV 1012 (1717-23)
1. Prelude
2. Allemande
3. Courante
4. Sarabande
5. Gavotte I/II
6. Gigue
Sergey Malov, cello
(23:50)

 

What kind of cello did Bach intend here? And it had to have a fifth string -- an E string a fifth above the high A.

Apparently most manuscript sources preface the music with a note about needing five strings -- but the only source that pictures the notes was in Anna Magdalena's hand.

A virtuoso cellist can play it on four strings -- but it was obviously written for five.

Ah, but which cello? There is the violincello piccolo:

Or perhaps it was meant to be played on a cello da spalla:

That is the choice for Mr. Malov -- who gives a fantastic performance here:

1. Prelude

A ferocious torrent of 1/8th-notes (in 12/8 meter). Bach's two main riffs is the bariolage and these arpeggiated chords.

The use of alto clef for the cello is rare. The use of soprano clef is even rarer.

2. Allemande

Typically gorgeous Allemande. Notice how this surprising low C shakes the rafters.

3. Courante

The main riff:

4. Sarabande

This thick-textured, slow-moving Sarabande is stunning. Like all good Baroque experts, Malov embellishes the music after the repeats:

5. Gavotte I/II

The form is lovely -- like a Menuet and Trio -- Gavotte I w/repeats; Gavotte II w/repeats; Gavotte I, no repeats.

Notice the pedal D, producing an effect that sounds like a hurdy-gurdy or bagpipes!

6. Gigue

And a complex jig to complete the suite.

Most charming are these descending double-stopped chords ...