suite No.1 , BWV 1007, In G:Prelude

简单介绍：都是弦乐的经典，巴赫无伴奏大提琴组曲，第一号，G大调。BWV是巴赫作品，1007是作品编号。1001-1006是无伴奏小提琴，1007-1012是大提琴。
自取suite No.1 , BWV 1007, In G:Prelude
00:01 - 02:38

The Six suites for unaccompanied cello by Johann Sebastian Bach are some of the most frequently performed and recognizable solo compositions ever written for cello. They were most likely composed during the period 1717–1723, when Bach served as a Kapellmeister in Köthen. The title of Anna Magdalena Bach’s manuscript was Suites á Violoncello Solo senza Basso.

The suites have been transcribed for numerous instruments, including the violin, viola, double bass, viola da gamba, mandolin, piano, marimba, classical guitar, recorder, flute, electric bass, horn, saxophone, bass clarinet, bassoon, trumpet, trombone, euphonium, tuba, ukulele, and charango.

The suites have been performed and recorded by many renowned cellists such as Jacqueline du Pré, Pablo Casals, János Starker, Pierre Fournier, Paul Tortelier, Mstislav Rostropovich, Steven Isserlis, Yo-Yo Ma, Mischa Maisky, Daniil Shafran, Anner Bylsma, and Pieter Wispelwey. Ma won the 1985 Best Instrumental Soloist Grammy Award for his bestselling album “Six Unaccompanied Cello Suites”.

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[who?] 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, Catalan cellist Pablo Casals began studying them. Although he would later perform the works publicly, it was not until 1936, when he was 60 years old, that he agreed to record the pieces, beginning with Suites Nos. 1 and 2, at Abbey Road Studios in London. Casals became the first to record all six suites by 1939. Their popularity soared soon after, and Casals’ original recording is still widely available and respected today.

Attempts to compose piano accompaniments to the suites include a notable effort by Robert Schumann. In 1923, Leopold Godowsky realised Suites Nos. 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.

German cellist Michael Bach has stated that the manuscript of the suites by Anna Magdalena Bach is accurate. The unexpected positioning of the slurs corresponds closely to the harmonic development, and the details of his analysis confirm this.

Violoncello da spalla

Recent research has suggested that the suites were not necessarily 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, critics, and performers, however, pointing to the thinness of evidence of this proposition and the extant evidence that supports Johann Sebastian Bach’s authorship, remain skeptical of the claim.

The Prelude (BWV 1007), mainly consisting of arpeggiated chords, is probably the best known movement from the entire set of suites and is regularly heard on television and in films.