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Thread: Cellists who play Bach's Suite No. 1 for Cello, BWV1007, can we talk?

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    Default Cellists who play Bach's Suite No. 1 for Cello, BWV1007, can we talk?

    I'm playing the Prelude on guitar right now and I'm noticing something about the piece. There seems to be a certain "bravura" about the composition that translates in performance as well. If I play other pieces of music well, it may make me "feel" like a musician. If I play the Prelude well, it makes me "feel" like I'm a guitar player. Any cellists feel that way? Thoughts?
    "He who makes songs without feeling spoils both his words and his music. " ~ Guillaume de Machaut

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    I'm sorry that I'm not a cellist, but I have performed that suite on guitar for years. I've performed it in 2 keys, D and C and I have also played through it in the original key of G.

    I'm not really sure what "bravura" means. I'm just a musician, but that prelude does require that the player be able to play the long idea. That finale really begins near the middle of the piece and carries all the way to the end.

    The Duarte transcription in D maj is the one everyone loves to play, but the Yates transcription in C I think is a better transcription of the actual dances. I like the Duarte transcription, but these days I play my own transcription that is really only the notes Bach wrote in the original cello work, transposed to the key of D, and with the only added note being a pedal on the low A string through the finale and a low D for the first note and again for the very last note.

    a lot of times when bass notes are added to a transcription of Bach for guitar, the added bass note screws up the compound melody Bach was working with. I mean, if Bach is clearly saving that bass note, adding it too early ruins the whole effect right?

    But that particular prelude is singular in its beauty. Every time I perform it, I imagine that I am trying to sell my guitar for way more than I paid for it

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