
Sunday, June 11 / 3:00 p.m. / Church of the Annunciation of Virgin Mary in Bohdaneč
POSTLUDIUM
Johann Sebastian Bach VII
Johann Sebastian Bach:
Cello Suite No. 1 in G major, BWV 1007
Cello Suite No. 2 in D minor, BWV 1008
Cello Suite No. 3 in C major, BWV 1009
Jiří Bárta – cello
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Johann Sebastian Bach was the first to reveal the full potential of the cello, previously regarded uniquely as an element of accompaniment, as a solo instrument. Not only does the cello encompass both the bass and the tenor ranges, and can climb up to dizzying heights; moreover, it bears a remarkable resemblance to the human voice. The cello can sing, rejoice or lament quite like the human voice, a trait that renders it particularly close to our hearts. With his series of six cello suites, Bach created something entirely unprecedented, and indeed revolutionary: a work which had such subsequent impact on music for this instrument that another comparably daring transformation had to wait until the time of such 20th0-century innovators as Kodály or Britten. Compared with the composer´s series of solo partitas for violin, the ones for cello are conceived in a more traditionsl style. They are identical in terms of structure, modelled on a pattern with a prelude followed by four two-part standard Baroque-suite dances (allemande, courante, sarabande, jig), between which Bach interposed a minuet, a gavotte, or a bourrée. The cello´s combination of deep bass pitch and tenor range throws into relief Bach´s art of condensing several voices within a single solo line. While these suites were probably written for educative purposes, their virtuoso qualities, emotional wealth and air of intimacy has earned them a safe place in the repertoire of all present-day concert players.
sleeve-note: Dita Hradecká / translation: Ivan Vomáčka