senza Basso Anner Bylsma /@I JOHANN SEBASTIAN BACH (168)-1750) 6 Suites a Violoncello solo senza Basso, BWV 1007-1012 ANNER BYLSMA, Baroque cello DISC 1 DISC 2 Suite No. 1 in G, BWV 1007 111 Prelude 2:08 [11 Allemande 4 :24 131 Courante 2:52 141 Sarabande 2:10 I IMenuet I & II 3:27 161 Gigue 1:40 Suite No. 2 in d minor, BWV 1008 171 PreIude 3:06 18! Allemande 3 :48 191 Courante 2 :03 1101 Sarabande 3:15 1111 Menuet 1& II 3: 10 1111 Gigue 2:28 Suite No. 3 in C, WV 1009 1131 PreIude 3:06 1141 Allemande 4 11 Courante 3: 17 1161 Sarabande 3:04 1171 Bourrce I & 11 3:09 1181 Gigue 3:12 ANNER IIYI.$MA, Ihroque cello (M"ttio Goffrileri, Yenezi", 1699) Producer "nd Reconling Supervisor: Wolf Eriehson Suite No. 4 in E fbt, BWV 1010 111 Pn':lude 3:49 111 Allemande 4:08 131 Courante 3:31 141 Sarabande 3:38 151 Bourreel & 11 4:3 161 Gigue 2:56 Suite No. 5 in c minor, BWVIOll 171 Prelude 4:53 181 Allemande 4:03 191 Courante 1:55 1101 Sarabande 3:16 1111 Gavotte I & 11 4:02 1121 Gigue 2:02 Suite No. 6 in D, BWV 1012 1131 Prelude 4:39 [Jjl Alleman<le 7:02 [151 Courante 3:3(, [161 Sarabande 4:06 1171 Gavottel & II 2:59 [181 Gigue 3:36 Recorded in Eehing/I."ndshut (Ihv"ri,,), April & M"y 1979 Reconling Enginecr: lcijc van Gccst =0 I") N
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aru PIOIU{lod. Dillllbuilld ill [urope by RCA/Ariolo Ariola/RCA OhllibucunfuropOllOI RCAArlolo-Arlolo/RU Verlriubililuropoduldl Aliola/RCARCAlAriola All righll UnoulhoriledroPylny. publllpolformollfO. 01 rUlord forblddun O'IondC!1919R(A SlhullplOllullGlllbH (OUIIII'l0fllloIlUIII(lulftof IlI(Ordl 0\ \loled Oll wlOld lobol PrilllcdinW. Gcrll1l1l1V D\lOBL70 @0316) 86 gen und Laufwerk, entfernt vergleichbar dem Prludium in C-dur des ersten Teils des"Wohl temperierten Klaviers) in Suite V eine Franzsi sche Ouvertre mit pathetischem Einleitungsteil und quasi fugiertem Mittelteil (sozusagen einer einstimmigen Fuge) und in Suite VI ein stark toc catenhalt orientiertes, sehr virtuoses Stck. In den Stammstzen der Suite sind Bach komposito risch zwar etwas strker die Hnde gebunden, doch bemht er sich auch hier, abwechselnd die verschiedenartigsten Bewegungsformen, Rhyth men und Figurationen, wie sie die Tradition des spten 17. Jahrhunderts bereits v0rgeprgt hatte, in einer knsrlerisch stets berzeugenden Weiter entwicklung zu gestalten. Mit dieser permanen ten Umformung und Erweiterung des Vorgefun denen, ein Grundzug des Bachsehen Schaffens berhaupt, verbindet sich eine staunenswerte Vertiefung des Gehalts, die seine Werke aus dem Zeitbedingten ins zeitlos Gltige erhob. hen considering Bach's role as an organist, harpsichordist and composer ~ of numerOU$ church cantatas, passions and masses, one tends to forget that he was, in fact, originally a violonist. He began his musical career in 1703 as a violinist at Weimar, returned there in 1708 as leader of the orchestra, and, in 1717, was appointed Kapellmeister at Cothen. The small court orchestra at Cothen consisted primarily of strings.-The crowning point in Bach's career as a violinist was the composition, in 1720, of the "Sei Solo a Violino senza Basso accompa gnato", of which Bach produced an exceptionally neatly written manuscript copy. He labelIed this collection of works for solo violin "Iibro primo". One is consequently tempted to assume that Bach was simultaneously planning, if not already working on, another collection along the same lines to be called "Iibro secondo". Today it is gen erally accepted that the "6 Suites a Violoncello so lo senza Basso" constitute this "second volumen. The solo violoncello suites also exist in an auto graph copy, but it is unfortunately undated. The title page and headings are in the handwriting of Bach's second wife, Anna Magdalena, whom he married on December 3rd, 1721, following on the sudden death of his first wife. The Suites for Vio loncello Solo would appear to have been com posed, therefore, immediately alter the Sonatas and Partitas fr Violin Solo, in 1720 or 1721. Bach never composed for the benefit of some imaginary "future posterity" but each time for a concrete purpose. His keyboard works were primarily intended for the instruction of his sons, his "Orgelbchlein" followed a similar purpose in respect of the organ, whereas the great organ pre ludes and fugues were probably composed mainly for his own use. Being an excellent violinist Bach himself presumably played his Sonatas and Parti tas for Violin Solo, as the fingering-marks in the autograph copy indicate. His degree of proficien cy on the violoncello and bass viol was, by comparison, only moderate, and as such would never have allowed him ro execure these techni cally extremely demanding works. Musicologists usually maintain that the only person for whom Bach could possibly have written his "Iibro sec ondo" was Ferdinand Christian Abel, an excellent player of both the violoncello and the bass viol, who was a member of the court orchestra at Anhalt-Cothen until 1737. Not only did Bach es teem Abel highly as a musician, but also as a friend, for Bach was godfather ro Abel's third child, a daughter Sophie Charlotte, born onJanu ary 6th, 1720. Abel's son Karl Friedrich, also a brilliant exponent of the bass viol, is said to have become one of Bach's pupils at St. Thomas Choir School, Leipzig. Ir was he who, in 1765, rogether with Bach's youngest son Johann Christian, founded the famous Bach-Abel Concert Series in London. The elose proximity of their composition makes it interesting to compare these works for solo violin and solo violoncello. For the violin Bach wrote three suites und three, for the times, "modern" sonatas; for the violoncello, on the other hand, he wrote only suites. He expected of the agile violin not only great virtuosity but also the ability ro execute strict polyphony, a feat which almost exceeds the bounds of possibility. Of the violoncello he also expected virtuosity but the musical material is much more firmly grounded in tradition and less experimental. The tendency ro be more objective in his treatment of the violoncello is particularly noticeable in his sparing use of polyphony, double-sropping tech niques and bariolage effects. The only movements where polyphony is predominant are the sara bande movements, and occasionally the bourree and gavotte lTlvement$. The rest of thc suite movements merely content themselves with a few double-sroppings, mainly at cadences. This re straint is largely because the tension of the vio loncello bow in use around 1700 could not bc slackened, a fact which limited the instrument's potential. Thus, in his violoncello suites, Bach had ro forgo these specifically "spatial" effects, which are such a distinguishing feature of the works for solo violin. [n spite of this, however, Bach manages 10 beslOw an amazing wealth of colour, technical and compositional brillia\lee and character on these fine works. From the last two suites it is evident tha, Bach was, indeed, striving tO extend the technieal possibilities of the violoncello. He entirled the Fif,h suite "Suitte discordable" and instrue'ed that the A string be tuned down ro G. The Sixth Suite he composed for a five-stringed instrumen, with its strings tuned 10 C-G-d-a-e, the viola pomposa, an instrument whose consrrUl.':lion Bach himself developed, or at least inspired, and whose range, when played in the first position, was 25% greater than that of the violoncello. Bach exploited this newly won freedomlO ,he full throughout the work. The viola pomp"sa was held not between the knees but in an arm posi tion. On aCCQunt of its size, howcvcr, it was somewhat awkward 10 play and the player easily grew tired. In his dictionary of music Ernst LuJ wig Gerber, son of a pupil of Baeh's confirms that Bach employed this instrument in his Leipzig or chestra. He states that it was played, above all, , when a "lively bass" was required, as it was easier ro execute "high and rapid passages" on it. , Unlike other work-cyeles of Bach's in which it is obviously the very contrasr between the indi vidual works that crea'es the cyele, this set of vio loncello suites is characterized by having the same b"ic pattern of movements for each work. Bach, here, seems to feel the need ro continue in the German suite tradition with its established order of movements, the type he favoured in his key board suites. An opening prelude is followed by the four standard suite mOvements allemande, courante, sarabande and gigue. Between the sara bande and gigue, however, Bach inserts a pair of "fashionable" dances each time, a pair of gavottes, minuets or bourree - the only variable element, as it were. These "galant" pieces are presented pretty weil in their original dance idiom; Bach does not "stylize" them. For the opening preludes Bach chooses a differen, type for each suite, con structing ,hem in anything from one ro four sec ,ions: in Suite 11, for instance, the Prelude is a mOvement of extremely rich harmonic develop ment with a well-defined elimax; in Suite IV i, is a web of sound made up of arpeggios and runs, faintly reminiscent of the C major Prelude of the Firs, Part of ,he "48 Preludes and Fugues"; in Suite V the Prelude is a French overture with a grand, imposing introduetion and quasi fugal middle seetion (a one-part fugue, so ro speak); in Suite VI it is a roccata-like, brilliantly vinuoso piece. When writing the four standard suite movements Bach's hands were naturally more tied by convention. Here, (00, however he tries (0 present the different types of movement, rhyth mic patterns and figurations already weil esta blished in late - 17th century tradition in as var ied a manner as possible, developing their artistic potential even further. Associated with this per manent re-shaping and expanding of already available material, a basic feature in Bach's oeuvre, is that deepening of Content and meaning which raises his works above the time-bound inro the timeless. English translation by Avril WallS n e r Bylsma wurde 1934 in Den Haag ge geboren und erhielt seine erste musikali ~ sche Ausbildung bei seinem Vater und Cello unterricht bei Marinus Snoeren. Sein Stu dium an der Kniglichen Hochschule in seiner Heimatstadt absolvierte er bei Prof. Carel van Leeuween Boonkamp und schlo es 1957 mit dem Prix d'Excellence ab. 1959 gewann er den er sten Preis des Pablo-Casals-Wettbewerbs in Me xico. Zu dieser Zeit war er bereits erster Solocel list des Orchesters der Niederlndischen Oper in Amsterdam und hielt diese Position zwischen 1962 und 1968 am Concertgebouw Orchestra in ne; dann wurden die Konzertangebote so zahl reich, da er die feste Stellung zugunsten einer freien solistischen und kammermusikalischen Ttigkeit aufgab. Sein umfangreiches Repertoire umfat nicht nur die bekannten romantischen und nachromantischen Cellokonzerte, sondern auch wenig aufgefhrte Werke aus dem 17.-19. Jahrhundert. Sein besonderes Interesse gilt der Auffhrung alter Musik auf historischen Instru menten, so da er zum bevorzugten Partner von Frans Brggen und Gustav Leonhardt wurde. 1970 erhielt Bylsma den Edison-Preis fr die von ihm geleiteten Aufnahmen der Kammerkonzerte von Hindemith und seine Interpretationen von Musiken des 18. Jahrhunderts auf dem Barock Cello. Seit 1970 lehrt er als Professor am Konser vatorium in Amsterdam und an der Kniglichen Hochschule in Den Haag. n e r Bylsma was born in 1934 at the Hague! Netherland. He got his first lessons from ~ his father. He got the Prix d'excellence of the Hague Conservatorium concluding his les sons by Carel van Leeuwen Boonkamp. First prize he won at the Pablo Casals Con cours in Mexico in 1959. For some years he was solo cellist of the Concertgebouw Orchestra, Amsterdam (1962-1968). His repertoire consists nOt only of the fa mous Romantic and post-Romantic cello concer tos, bus also lesser-known works from the 19th, 18th and late 17th centuries. He has for long been particularly interested in music which can be per formed on original instruments and he plays a Ba rogue cello. Anner Bylsma gives concerts with Frans Brggen and Gustav Leonhardt.