Bach - Six Suites

JOHANN SEBASTIAN BACH

for unaccompanied violoncello edited by

Janos Starker

PEER INTERNATIONAL CORPORATION NEW YORK PEER MUSIKVERLAG . G.M.B.H. HAMBURG

FOREWARD For many years the thought of asking J. S. Bach how he wanted his Violoncello Suites played made the hereafter seem palatable and even desirable. After decades of playing and recording these Suites, while investigating most of the more than twenty editions in which they appear, it dawned on me that it is far better to enjoy them from any and all vantage points and leave the Master in peace.

One of the certain signs of a masterpiece is its ability to withstand presentations of all kinds and still remain a masterpiece. The thousands who found rewarding musical experiences with these works had limitless views on phrasings, dynamics, notes, rhythms, and concepts. I have personally admired many different performances of the same suites, and it amused me to no end when the performer and/or the editor claimed his version to be "the" original or the closest to the original. The Magdalena Bach, Kellner, and Westphal manuscript ¡sources all differ in detail; therefore, any pretense of originality to Bach is purely fictitious.

The obvious question arises then- why another edition? The answer is simple. Through the years a great number of people have asked me what edition I use. This is my reply. This edition represents bowings and fingerings evolved through hundreds of performances and recordings noted as faithfully as it was possible.

Playing Bach is a process of search and change with no end in sight. That is why there is an omission of dynamic suggestions and tempi. These depend on instrument acoustical conditions and level of skill. Bowing characteristics are only hinted at rather haphazardly and inconsistently by dots and dashes. They suggest the use of non legato; detached bowing with soft or hard but consonant attack. Seemingly clumsy bowings require careful bow distribution according to note length. They are played usually in the middle or upper half of the bow. Chords are, at times, reconstructed for reasons of continuity and some of the note values are reduced to approximate the actual playing time. The chords are played slurred rather than broken thus requiring the holding of the middle notes somewhat longer. With few exceptions trills and ornaments start with the note above the main note. Ornamented notes of short duration emphasize the main note so as not to disturb the line. Ornaments on double stops, as well, start with the note above the main note:

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In 1984 I rerecorded the suites the for the fourth time. The evolutionary process in performing Bach's Suites resulted in a multitude of changes; changes of bowings, fingerings and dynamics due to an increasing concern for tonal values, sound varieties and emotional content. The immense amount of work required to give an account of these changes in printed form forbade the implementation of them in this edition.

As I do not wish to deny the validity of the previous approaches, let me just state that only the dramatic changes in the 4th suite need explanation. Due to the less than ideal use of E flat as a tonality, I felt that a more frequent use of harmonics (G and C especially) may help to activate overtones, so as to enhance the aesthetic quality of the suite:

I would suggest to the player to search for that solution and rejoice in finding a more satisfying sound and cleaner intonation.

Even in this relatively short period of time, 1970-88, cello playing has risen to new heights. Let me hope that the next decades will succeed in incorporating the progress in the "skill" of playing, but the results of the Baroque research as well as the individual need to say something different through Bach's music.

Janos Starker Bloomington, Indiana 1970; revised 1988

CONTENTS

page Suite No. 1 in G major

2

Suite No. 2 in D minor

8

Suite No. 3 in C major

14

Suite No. 4 in E" major

22

Suite No. 5 in C minor

32

Suite No. 6 in D major

42

SUITE No.1 J. S. Bach

Prelude

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All Rights Reserved Including the Right of Public Performance for Profit "WARNING! Any person who copies or arranges all or part of the words or music of this musical composi· tion shall be liable to an action for injunction, damages and profits under the United States Copyright Law."

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SUITE No.2

©Copyright 1971 by Peer International Corporation International Copyright Secured Printed in U.S. A. All Rights Reserved Including the Right ol Public Performance for Profit "WARNING! Any penon who copiea or arranges all or part of the worda or muaic of thia musical compo1i· tion 1hall be liable to an action for injunction. damall'u and profit• under the United State• Copyright Law."

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SUITE No.3

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22

SUITE No.4

ŠCopyright 1971 by Peer International Corporation International Copyright Secured Printed in U.S. A. All Rights Reserved Including the Right of Public Performance for Profit "WARNING! Any person who copies or arranges all or part of \he words or music of this musical composition shall be liable to an action for injunction, damages and profits under the United States Copyright Law."

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SUITE No.5 J. S. Bach edited by Janos Starlrer

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SUITE No.6 J. S. Bach edited by Janos Starker

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