Johann Sebastian Bach was born in Eisenach, the capital of the duchy of Saxe-Eisenach, in present-day Germany, on 21 March 1685 O.S. He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth. Zes suites voor onbegeleide cello Eerste pagina (een gedeelte van de Prelude) van het manuscript van Anna Magdalena Bach van Suite No. 1 in G majeur, BWV 1007 Componist Johann Sebastian Bach Soort compositie suite voor onbegeleide violoncello Toonsoort. 1, BWV 1007 (for Guitar) sheet music - Guitar sheet music by Johann Sebastian Bach: Schott Music. Shop the World's Largest Sheet Music Selection today at Sheet Music Plus. I am sorry to give a negative review. The second and third movements from Bach's Brandenburg Concerto No.6 arranged for string orchestra (Violin I, II, III, Viola, Cello & optional Bass). The PDF also contains parts for Violin IV, doubling that of the viola, and an additional viola part doubling that of the. Georg Mertens - The Bach Cello Suites. CELLO & CLASSICAL GUITAR TUITION for beginners and advancedin Katoomba and Mudgee ph. Copyright for this webpage by Georg Mertens (c) 2. Katoomba / Australia. Published on Bach's date of Birth 2. March (2. 01. 2). Quotation and references to original and new thoughts or material from this site needs to state the author of this website. Any use of material of this site, which can make profit is only permitted after arrangement with the author. Contact: email: georgcello@hotmail. CONTENTS: THE EDITIONS OF THE 6 CELLO SUITES IN HISTORICAL ORDER - 8. Editions from 1. 72. FIRST EDITIONS OF THE CELLO SUITES for OTHER INSTRUMENTS (click here)The Manuscripts (click here)Considerations. The oldest manuscript by Kellner The manuscript by Anna Magdalena Bach - Was Anna Magdalena the Writer of the Suites? Manuscript C - Manuscript D Lost Manuscripts The Prints (click here) The . The original has been lost. Johann Kellner. Title: Sechs Suonaten pour la Viola de Basso Kellner was a friend of Bach, a flautist and organist. Therefore his bowings give rather a sense of phrasing and are inconclusive when used as bowing instructions. Suite 5 is written in this manuscript for standard tuning, which hints to an existing edition in standard tuning, because we can't assume, that another person than a cellist would be able to understand the jump at the correct notes considering position play. Also, he did not finish Suite 5. He started for a few bars the Sarabande, stopped and left out the Gigue altogether. I assume Kellner noticed, that the he had seen the Sarabande and Gigue before, which Bach also used for the flute suites. Anna Magdalena Bach. Title: Suites a violoncello senza basso. Anna Magdalena's manuscript is regarded as possibly the closest to the original, obviously because she must have copied it from the original. Certainly regarding the notes her copy must be the closest to the original. Unfortunately she was not familiar of the inner logic of a string players' bow technique. As demonstrated by her copies of the violin Sonatas & Partitas - where we have Bach's original - she miscopied frequently whole passages of bowings. We have not to forget, that Anna Magdalena did the copying in her . Then we need to extend these patterns undisturbed by contradictions. Naturally it remains very difficult to interpret what is meant - and what is not meant. Also, Anna Magdalena's copy looks already back on a certain time span of experience with musicians having played the Suites. Especially in the Prelude of Suite 1 we can discover a conscious moving away from the standard bowing of 3 slurred to a more complex pattern. This complex pattern works as written. Therefore I assume, J. S. Bach must have supervised the copying and instructed her to change the bowing due to him not being happy with the sound of the . Maybe her bowing of Prelude 1 can be seen as a second original draft of Bach. C', author unknown. Title: Suiten und Preluden fur das Violoncello This is the first copy of a cellist. We can play through this copy and it all makes sense - if we share the interpretation or not. This copier lived historically already not anymore in the Baroque period, in which performers added ornaments according to their taste or to tradition. In his manuscript the editor included the ornaments, which were traditionally played and regarded as being correct and belonging to a stylish performance. He must have felt that performers of his time would leave out the proper ornaments, when he wouldn't write them in. Therefore this copy gives us an important inside of Baroque performance. We can compare Anna Magdalena's copy without the ornaments and seeing in his copy, where they would have been played already in her time, although they were not written in. This is especially so in the Sarabandes. D', author unknown. Title: 6 Suite a Violoncello Solo This copy is similar like manuscript . The four manuscripts above are the only known sources from before 1. J. S. Bach (see also . There are also no fingerings in nor any signs, that they have been used. That is why they have survived in excellent condition without any wear and tear. Cellists must have used first the lost manuscripts plus hand copies of these and used later the prints after enough different prints reflecting all kinds of interpretations had been printed (see CONCLUSION for more details). Norblin), publisher: Janet de Cotelle, Paris. Title: Six Sonatas ou Etudes pour le Violoncelle Solo Often called 'the first printed edition'. To call this edition the first is not a secure fact, but rather an assumption and also a dedication - a kind of Romanticism - to the story, that the great cellist Pablo Casals found this edition in a second hand shop and was later responsible for making the Suites known to a wider audience outside Germany. The Baerenreiter Urtext Edition includes a copy of this publication. In a way this is unfortunate. The edition lacks cooperation between editor and publisher; it is impossible to play the movements through as they are. Every few lines one gets stuck in the wrong bow direction. Obviously the publisher had no idea of the inner logic of bowings, which are different than phrasing, and didn't bother to check with the editing cellist. Dotzauer learnt composition from Ruettinger, who was a student of Kittel, a Bach student. He certainly had access to direct information and understanding, had several manuscripts to choose from, as he lived in the same town as Bach and was only two removes from Bach as a composition student. Also, he must have kept an eye on the whole production as we can play through the Suites and it all makes sense from a players point of view. I wish Baerenreiter would have published this edition as it would be by far the more interesting one. It also points clearly to further manuscripts, which have been lost and are different to the four known ones. I got hold of the Prelude of Suite I from the 1. Breitkopf (Breitkopf's edition is same edition as the prior Probst, which was virtually simultaniously published as Cotelle's edition). Friedrich Dotzauer, publisher: H. A. Probst, Leipzig. Title: Sechs Sonaten (see comment above)& 1. Breitkopf, Leipzig. Kistner, Leipzig 1. Breitkopf, Leipzig. Breitkopf, Leipzig& 1. Guiseppe Magrini - Dotzauer, publisher: Ricordi, Milan. Walter Schulz - Dotzauer, new Ed. Richter, Petersburg. Friedrich Gruetzmacher, publisher: Peters, Leipzig. Title: Six Sonatas ou Suites pour Violoncelle seul Suite 1 increased slurring in the Prelude Suite 6. G major& c 1. Friedrich Gruetzmacher 'Concert Version', Peters, Leipzigc 1. Concert Version 2nd Ed. Peters, Leipzig. 18. Alfred Doerffel (Bach Gesellschaft), publisher: Breitkopf, Leipzig. Alwin Schroeder, publisher: Kistner, Leipzig. Norbert Salter, publisher: Simrock, Berlin. Robert Hausmann, publisher: Steingraeber, Leipzig& 1. Hausmann revised by Walter Schulz, Steingraeber, Leipzig To my knowledge the first edition with B natural in bar 2. Prelude 1 - corrected by the owner of the copy back to Bb! Julius Loeb, publisher: Constallat, Paris& 1. Loeb new Ed., Constallat, Paris 1. Julius Klengel, publisher: Breitkopf, Leipzig& 1. Julius Klengel, new print, Breitkopf, Leipzig- NOTE: of the 1. Leipzig and only 4 in other cities - 1. Jacques van Lier, publisher: Universal Edition, Wien. Wilhelm Jeral, publisher: Universal Edition, Wien. Hugo Becker, publisher: Peters, Leipzig. Title: Sechs Suiten (Sonaten) fuer Violoncello solo & 1. IMC, New York 1. 95. Peters, Leipzig& 1. Percy Such, publisher: Augener, London (1st UK)1. Cornelius Liegeois, publisher: Lemoine, Paris. Paul Bazelaire, publisher: Max Eschig, Paris& 1. Max Eschig, Paris 1. Paul Kurth, publisher: Drei Masken, Wien. Luigi Forino, publisher: Ricordi, Milan. Wilhelm Jeral, publisher: Muztorg, Moscow. Diran Alexanian, publisher: Salabert, Paris. Includes for the first time the facsimile manuscript by Anna Magdalena Bach. This edition is the first sample of writing the music out including an intellectual analysis, which should introduce the player to phrasing and an understanding of Bach's polyphony in the solo part. Later Mainardi and Tortellier followed this idea. Alexanian's attempt is unfortuately so confusing that is is nearly impossible to read fluently. Frits Gaillard, publisher: Schirmer, New York. Enrico Mainardi, publisher: Schott, Mainz& 1. Mainardi, new rev. Ed., Schott, Mainz. This is the first edition I was given when I was 1. Mainardi used a layout differentiating the top / middle and bottom voices. Before I knew the words counterpoint and polyphony I tried already to do justice to the clarity of parts according to this edition. Mainardi's idea is following Alexanian, but is clearer. Like Alexanian he puts his own ideas first disregarding the bowings of the manuscripts. Paul Gruemmer, publisher: Doblinger, Wien. This edition includes the facsimile manuscript of Anna Magdalena. In difference to other editions (like later Kurtz) Gruemmer gives a faithful modern print of Anna Magdalena's bowings next to the manuscript. The print is one of the clearest available and is one of the few if not the only one, where the editor puts his own view in the background and gives account of the manuscript in a modern note setting. This edition could be one of the very best for the advanced palayer would it not unfortunately have so many printing mistakes (not historically doubtful notes, but real mistakes). Semon Kosolupov, publisher: Muzgiz, Moscow. Bach Gesellschaft Edition, reprint, publisher: Lea Pocket Score, New York& 1. Bach Gesellschaft, Dover, New York. August Wenzinger, publisher: Baerenreiter, Basel. In my student time everyone played this edition. It claims to be Urtext (original or the closest to) but it is indeed a personal edition and mix of the editors way of playing without any explanation why a choice has been made. J. Ebner, publisher: Hug, Zuerich. Gino Franzesconi, publisher: Suvini, Milan. Alexander Stogorsky, publisher: Muzgiz, Moscow. Da Bach seine Kammermusikkompositionen intensiv . In Leipzig wird Bach einen Teil der Kompositionen im Rahmen seiner Konzerte im . Es ist eins der wenigen Beispiele f. Die Partitur ist nur in einer Abschrift erhalten. Der erste Satz besteht nach Art einer Tasteninstrument- Allemande aus ununterbrochenen Sechzehntelketten und stellt daher die Atemtechnik des Interpreten vor nicht geringe Aufgaben. S. Inzwischen wird das St. Ob dies bedeutet, dass es auch in seinem Auftrag entstand, ist nicht sicher. Wahrscheinlich geht auch diese auf eine Erstfassung f. Inzwischen steht Johann Sebastian Bachs Autorschaft jedoch fest; die Abschrift wurde von Johann Nathanael Bammler, Bachs Privatsekret. Auch hier wird als Erstfassung eine Sonate f. Nach heutigem Forschungsstand ist Bachs Sohn Carl Philipp Emanuel der Autor. F. Vorwort zu: Johann Sebastian Bach: Sonate C- dur f. Sonaten Es- Dur, g- moll f. Herausgegeben von Alfred D. Fischer, Frankfurt am Main, ISBN 9. In: Bach- Jahrbuch 1.
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