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J.S.Bach Prelude Cello Suite No 1 G major [8 slurred bowing] BWV 1007 Georg Mertens cello

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Uploaded on Jun 24, 2011

For a detailed History and Analysis of the Bach Cello Suites visit: http://www.georgcello.com/bachcellosu...
A transcription for solo guitar is available on this webpage: http://www.georgcello.com/sheetmusic.htm (will be send per email (US$2.50 / TAB $2)
For CD Baby, Amazon & all CD's with Georg click:
http://www.georgcello.com/music.htm
For public performances and House Concerts including to present and explain the Suites, visit http://www.georgcello.com/cello.htm
_____________________
For public performances and House Concerts including to present and explain the Suites, visit http://www.georgcello.com/cello.htm
facebook:
Georg - https://www.facebook.com/georg.merten...

Georg recorded all movements of the 6 Cello Suites on this Youtube channel.

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.

Starting with 8 notes slurred, this is the most played version and the favourite of many, but certainly not the original one. Created for our bow today towards the end of the 19th century by Hugo Becker (Peters and IMC editions).
Although it is not original, it is smoother to play than the original bowing, which suits the Baroque bow.
Starting the bar in downbow and the second part in upbow is already suggested in Anna Magdalena Bach's bowings, which are a correction to the earlier version.

Technical hint: Many students have problems with the left hand, because they touch with their finger on the D string the A open string and stop the sound (lifting the left arm does not help, it can even flatten the fingers; only what the very first limb of the fingers does makes a difference).
There is a trick. Firstly we need not to take our fingers up and down, but the melody on the D string should not have gaps by lifting the fingers off for the alternating A (except for the open D string as a melody note).
Because this is difficult to do I place my fingers not on the string, but just beside the D string towards the G string on the fingerboard. This will still give us enough pressure for a clear sound.
More so it lifts the level of the D string minutely and enables a continuous vibration of A and D string, which fills the room like an organ. -

For Baroque and today's bow technique visit: "An analysis of bow technique" : http://www.georgcello.com/bow.htm .

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