Ooh, this is actually a really cool point - Bach wrote his fifth suite with scordatura tuning, in that he asked for the top A string to be tuned down a tone to a G, so a lot of new multiple stop chords were possible. Because very few players were used to this style of playing, he originally wrote all the notes to be played on the *now top G string* a tone higher, so that the cellist reading the music wouldn't have to alter their technique, and the sounding pitch would be correct on the altered instrument. It does make it pretty awkward to analyse, since sometimes one need to check the fingerings given to see if the note should be transposed, but this edition is how this music was originally intended, and how most modern players read it, just maybe with the sounding notes pencilled in. (There's a lot of variation amongst modern performers - some prodigies manage to play scordatura chords on normal cellos, and others change some chords to make it possible, without having to risk harming their instrument) There is a version for regular cello that is usually published alongside the original, and while a couple of the chords are a little barer, every note sounds as it should in this edition: ks4.imslp.info/files/imglnks/usimg/b/ba/IMSLP268149-PMLP164353-Bach_5th_Suite_for_Cello_Solo_without_slurs_Normal_notation.pdf Hope this helps :)
Timecodes:
00:00 1 - Prélude
06:54 2 - Allemande
13:10 3 - Courante
15:38 4 - Sarabande
20:13 5 - Gavotte I
22:35 6 - Gavotte II
25:09 7 - Gigue
Colin Carr plays Bach at the highest level. Transcendental!
Absolutelt gorgeos recording!
Beautiful
1:09
The adds are great! Bach always wanted to be interrupted.
Just FYI, the staff notation is wrong in many places.
Ooh, this is actually a really cool point - Bach wrote his fifth suite with scordatura tuning, in that he asked for the top A string to be tuned down a tone to a G, so a lot of new multiple stop chords were possible. Because very few players were used to this style of playing, he originally wrote all the notes to be played on the *now top G string* a tone higher, so that the cellist reading the music wouldn't have to alter their technique, and the sounding pitch would be correct on the altered instrument.
It does make it pretty awkward to analyse, since sometimes one need to check the fingerings given to see if the note should be transposed, but this edition is how this music was originally intended, and how most modern players read it, just maybe with the sounding notes pencilled in. (There's a lot of variation amongst modern performers - some prodigies manage to play scordatura chords on normal cellos, and others change some chords to make it possible, without having to risk harming their instrument)
There is a version for regular cello that is usually published alongside the original, and while a couple of the chords are a little barer, every note sounds as it should in this edition: ks4.imslp.info/files/imglnks/usimg/b/ba/IMSLP268149-PMLP164353-Bach_5th_Suite_for_Cello_Solo_without_slurs_Normal_notation.pdf
Hope this helps :)
@@AltoClef Oooooohhhh! I've been wondering about that!!! Thank you so much
Continuous and excessive use of rubato.