Suite III in C major BWV 1009 for violoncello solo
[vc,pno]
Description
“Once again, it occurred to me how one can never finish with Bach, how he becomes deeper and deeper the more one listens to him.” This sentence, uttered by Robert Schumann in 1840, refers to the great importance Bach had for Schumann and which was the reason for his intensive engagement with Bach’s work; copies, editions, and arrangements bear witness to this. In 1853, after arranging Bach’s violin sonatas for violin and piano, Schumann also wrote a piano part for the sonatas for violoncello. However, unlike those for the violin sonatas, these arrangements have remained unpublished until now. Our first edition of Suite No. III is based on a copy of the lost autograph discovered by Joachim Draheim.
Schumann’s intention in his arrangement was to highlight the musical qualities of the original. It should not be understood as an intervention in the work or a break in style. The piano accompaniment is very discreet and can be regarded as a “harmonic supporting band.” A detailed preface and a revision report by Joachim Draheim provide important information for understanding the work.
EB 8431
Urtext
EAN: 9790004177365
36 pages / 23 x 30.5 cm / 141 g / stapled
Description
Description
“Once again, it occurred to me how one can never finish with Bach, how he becomes deeper and deeper the more one listens to him.” This sentence, uttered by Robert Schumann in 1840, refers to the great importance Bach had for Schumann and which was the reason for his intensive engagement with Bach’s work; copies, editions, and arrangements bear witness to this. In 1853, after arranging Bach’s violin sonatas for violin and piano, Schumann also wrote a piano part for the sonatas for violoncello. However, unlike those for the violin sonatas, these arrangements have remained unpublished until now. Our first edition of Suite No. III is based on a copy of the lost autograph discovered by Joachim Draheim.
Schumann’s intention in his arrangement was to highlight the musical qualities of the original. It should not be understood as an intervention in the work or a break in style. The piano accompaniment is very discreet and can be regarded as a “harmonic supporting band.” A detailed preface and a revision report by Joachim Draheim provide important information for understanding the work.