History
An exact chronology of the suites (regarding both the order in which the suites were composed and whether they were composed before or after the solo violin sonatas) cannot be completely established. However, scholars generally believe that—based on a comparative analysis of the styles of the sets of works—the cello suites arose first, effectively dating the suites pre-1720, the year on the title page of Bach's autograph of the violin sonatas.
The suites were not widely known before the 1900s, and for a long time it was generally thought that the pieces were intended to be studies. However, after discovering Grützmacher's edition in a thrift shop in Barcelona, Spain at age 13, Pablo Casals began studying them. Although he would later perform the works publicly, it was not until 1925, when he was 48, that he agreed to record the pieces, becoming the first to record all six suites. Their popularity soared soon after, and Casals' original recording is still widely available today.
Attempts to compose piano accompaniments to the suites include a notable effort by Robert Schumann. In 1923, Leopold Godowsky realised suites 2, 3 and 5 in full counterpoint for solo piano.
Unlike Bach's solo violin sonatas, no autographed manuscript survives, thus ruling out the use of an urtext performing edition. However, analysis of secondary sources—including a hand-written copy by Bach's second wife, Anna Magdalena—has produced presumably authentic editions, although critically deficient in the placement of slurs and other articulation. As a result, many interpretations of the suites exist, with no sole accepted version.
Recent research has suggested that the suites were not written for the familiar cello played between the legs (da gamba), but an instrument played rather like a violin, on the shoulder (da spalla). Variations in the terminology used to refer to musical instruments during this period have led to modern confusion, and the discussion continues regarding the instrument "that Bach intended", or even if a particular instrument was indeed intended. Sigiswald Kuijken and Ryo Terakado have both recorded the complete suites on this "new" instrument, known today as a violoncello or viola da spalla; reproductions of the instrument have been made by luthier Dmitry Badiarov.
Recent speculation by Professor Martin Jarvis of Charles Darwin University School of Music, in Darwin, Australia, holds that Anna Magdalena may have been the composer of several musical pieces attributed to her husband. Jarvis proposes that Anna Magdalena wrote the six Cello Suites, and was involved with the composition of the aria from the Goldberg Variations (BWV 988). Musicologists and performers, however, pointing to the thinness of evidence of this proposition, remain skeptical of the claim.
Read more about this topic: Cello Suites (Bach)
Famous quotes containing the word history:
“It is true that this man was nothing but an elemental force in motion, directed and rendered more effective by extreme cunning and by a relentless tactical clairvoyance .... Hitler was history in its purest form.”
—Albert Camus (1913–1960)
“Throughout the history of commercial life nobody has ever quite liked the commission man. His function is too vague, his presence always seems one too many, his profit looks too easy, and even when you admit that he has a necessary function, you feel that this function is, as it were, a personification of something that in an ethical society would not need to exist. If people could deal with one another honestly, they would not need agents.”
—Raymond Chandler (1888–1959)
“I believe that in the history of art and of thought there has always been at every living moment of culture a “will to renewal.” This is not the prerogative of the last decade only. All history is nothing but a succession of “crises”Mof rupture, repudiation and resistance.... When there is no “crisis,” there is stagnation, petrification and death. All thought, all art is aggressive.”
—Eugène Ionesco (b. 1912)