Bach Cello Suite No 5, C minor Courante BWV 1011. Georg Mertens

After the four 18th century manuscripts of the 6 cello suites.
Opposite to common belief the Courante at the time was not always a fast movement. This is particularly true for the Courantes in 3/2. It was described as 'the slowest of the French Court dances'. The contemporary historian Mattheson described the Courante as: "The passion of affection ... is sweet hopefulness. For there is something of the hearty, something of the longing, and also something of the cheerful in the melody".

If played in normal tuning - no scordatura - one can find in the Courante in the last line the theme "BACH" , 1.33 and 2.08 min (in English terms: Bb A C B-natural). These 4 notes precede the ending of the piece, indicating the proper, more important use in the Sarabande (see the Sarabande). In my interpretation I stretch the speed slightly to point out the significance before descending towards the end. Once discovered it seems to sound just the way it should be.
Whatever the reason for the theme, it is purpose in this position, not accidental. In my opinion Bach used this theme planned, followed up in the Sarabande. I think it is not impossible, that when he rewrote the Suite for lute, he started to have bigger plans with the theme, like the "Art of Fugue". To obscure this early use of the theme, he introduced the scordatura, in which all notes on the A string are written one note too high (the notes are written actually as wrong notes) thus not showing the player the real names: BACH.

Baroque pitch tuning. Strings CGDA according to the oldest manuscript by Kellner (see also my website for more explanation: http://www.georgcello.com/sheetmusic.htm).

The 6 the Suites for cello solo have been recorded for Youtube on this channel.

The 6 cello suites are today part of my program of the CELLO CONCERTS at Jenolan Caves, NSW Australia, the longest series of cello concerts in history with more than 150 cello concerts in over 13 years.
Cello Concerts are held regularly every 3d Sat of the month 4pm. Bookings (AU) 02 6359 3911 (or ticketmaster: http://www.ticketmaster.com.au/Jenolan-Caves-Concerts-Cello-Favourites-ticket...
For program details visit: http://www.georgcello.com/cello.htm

To the VIBRATO: The composer / music theorist Geminiani wrote in 1752: 'vibrato ....when it is made on short notes, it only contributes to make their sound more agreeable and for this reason it should be made use of as often as possible'. This is very interesting since the popular Baroque fashion of today avoids vibrato. I think this fashion has been created by "new Roamantics". In the Romantic period vibrato was hardly used in Germany, Austria and England. The famous violinist Joachim, to whom Brahms dedicated his violin concerto, hardly used vibrato. Only Kreisler introduced it in the 1920s.

To the part of the bow used: Since the reconstruction of the bow by Tourte c 1800 we can apply on the nut/frog a weight of 5-10kg, whereas in the middle and upper third the limit is c 700g .
The weight of 700 g is slightly above the limit we can apply with a Baroque bow in all parts, due to the low tension of hair. Therefore Baroque music should be played in the middle to upper third of the bow.
In this recording I play wound nylon strings, in tension close to the gut strings they used."

If you are a string player you will find this article interesting: "An analysis of bow technique" dedicated to all students in the world who wish to improve their sound. (click here on: http://www.georgcello.com/bow.htm )

Apart from giving concerts, taking photos, composing, writing articles and poetry and editing my website, Georg teaches cello and Classical guitar in Katoomba / Blue Mountains.

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