Bach Sarabande Cello Suite No 5 performed on an ancient Renaissance cello

Cello - Georg Mertens
The interpretation emphasises the character of the Sarabande with accents on the 1st and 2nd beat, as in the Chaconne and their predecessor, La Folia. For an authentic Baroque performance, the dance character of the movements is the most important element.
This Sarabande is the centre movement of Bach's musical citation of his name: B-A -C -H (English/American: Bb-A-C-B) in bar/measures 13/14. The citation occurs also in the Courante, Gavotte 1 and Gigue of Suite 5.
This video is part of my online cello course on patreon - / georgcello - then go to "Collections".
The interpretation is according to the 4 manuscripts of the 18th century.
I bought this cello in 1969, none of my teachers liked it because it was not standard.
Originally this instrument was made as a larger 3 stringed bass violin - before the name cello existed - made c 1500-1600 in Austria or Bohemia. Later cut back to the size of a normal 4 string cello including new sides between 1700-1750. - I always loved it for it's sound.
Today it is set up with wound gut strings. I play it with a Baroque bow, Baroque tuning - a bit more than a semitone lower than our standard A.
There is more info on this cello in the lesson to the Sarabande of Suite No 5 on the patreon site.
See there also as well as in the UA-cam list below this Sarabande as original as possible on a modern cello, standard A, 440 Hz:
For the history and a detailed analysis of the Bach Cello Suites see: www.georgcello....
For all movements of the 6 Bach Cello Suites see playlist - studio.youtube...
For all youtube playlists see: / @georgcello
The Sarabande is included in Volume 5 of My CELLO METHOD": Mastering Positions 5-7" - visit: / georgcello - click "Shop" for sheet music / for the online cello course or Talks on the Bach Cello Suites - go to "Collections".
Lesson 1-10 is offered as a free trial, sheet music attached.
The sheet music is also available from Sheet Music Plus - www.sheetmusic...
To Vibrato in Baroque Music:
The Baroque composer Geminiani wrote (1752): "Use vibrato wherever you can, it sweetens the sound".
Mozart's father Leopold distinguished already between slow and fast vibrato, increasing and decreasing the speed of vibrato (1750)

[@generaldrones]

Like an oil painting by Johannes Vermeer

[@TheBereangirl]

Thank you Georg, I needed this... to be soothed.🥹💕