It’s evocative of a Brahms Intermezzo, feels as if it had been written for the piano and resembles the Allemande in approach: another song-like piece, with expansive phrasing, longer 3/2 measures and rich harmonies. I already referred to Brahms – a composer who often turned to earlier music for inspiration – in my description of Gavotte II from Suite 5 and I can’t help but think of him again when writing about this Sarabande. It needn’t be too fast so many tempos will work I prefer 100 per quarter note. It certainly delivers, presenting us with characteristic Courante features: an energetic dance feel, bouncy 8th-16th note rhythmic patterns as well as extensive runs of fast 16th notes. The Courante needs to provide a contrast between the sinuous Allemande and the equally expansive forthcoming Sarabande. This is anything but a dance, it’s a song, a confession. A pianist cannot get away with playing much faster here, as opposed to the Prelude, since each melodic, harmonic and rhythmic nuance claims its own time. The entire Allemande is only twenty measures long but it takes between seven and eight minutes to play it. As one internalizes the flow it reveals a subtly lyrical quality and a veritable treasure of harmonic overlay. Learning the Allemande initially feels like an exercise in counting because of the abundance of dotted rhythms and a myriad of 32nd and 64th-note combinations. 98-99 are broken up by most cellists, I found Mstislav Rostropovich’s no-nonsense blocked-chord rendition appealing and decided to follow suit. 59, 85 and 86, just for a change in texture. 78-80 sequence shouldn’t be read strictly they are just long notes followed by a “roll” to a 6th above. The dotted rhythms followed by faster notes in the mm. It’s also advisable to designate some generally soft sections when the theme is absent, like in mm. I prefer to use the Forte/Piano echo effect for the many later iterations of the theme as well as in mm. These dynamics are more appropriate for a cello’s more restrained tempo at a faster speed they may seem unnecessary especially in the beginning, but that’s a matter of taste. This is the only movement where the Anna Magdalena autograph contains stray “echo” dynamic markings which I include in the score. Of course one needs to be careful not to start too fast because there are 16th notes at the end and they need to be clear. 4, changes when transcribed for the piano: as the repeated notes naturally adapt to two hands it speeds up and plays like a toccata. The character of the Prelude, like in Suite No. After all, we do know that he kept the Creator in mind when he was composing. I can’t help but wonder if Bach was thinking that writing in “D,” the first letter of Dominus Deus, would be a fitting ending mode for the set. In addition, the bright and sunny key we associate with Beethoven’s “Ode To Joy,” D major, adds a particularly jubilant character to this last installment of the cycle. Because of its increased treble range and chord density, Suite No. It is also the longest of the Suites and the most harmonically rich. 6 was written for a five-string instrument, it has the widest range, reaching more than an octave above middle C. Guitar Duo Srdjan Bulatović & Darko Nikčević
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