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70-398: As usual in a Baroque musical suite , after the prelude which begins each suite, all the other movements are based around baroque dance types. The cello suites are structured in six movements each: prelude, allemande , courante , sarabande , two minuets or two bourrées or two gavottes , and a final gigue . Gary S. Dalkin of MusicWeb International called Bach's cello suites "among

140-459: A basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments— viol , cello , double bass —played the bassline . A characteristic Baroque form was the dance suite . While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers. During

210-437: A lute player who would play the bassline and improvise the chords and several bass instruments (e.g., bass viola , cello , double bass ) which would play the bassline. With the writing of the operas L'Orfeo and L'incoronazione di Poppea among others, Monteverdi brought considerable attention to this new genre. This Venetian style was taken handily to Germany by Heinrich Schütz , whose diverse style also evolved into

280-472: A court style composer is Jean-Baptiste Lully . He purchased patents from the monarchy to be the sole composer of operas for the French king and to prevent others from having operas staged. He completed 15 lyric tragedies and left unfinished Achille et Polyxène . Lully was an early example of a conductor ; he would beat the time with a large staff to keep his ensembles together. Musically, he did not establish

350-507: A larger instrument, although it is conceivable that Bach—who was fond of the viola—may have performed the work himself on an arm-held violoncello piccolo. However, it is equally likely that beyond hinting the number of strings, Bach did not intend any specific instrument at all as the construction of instruments in the early 18th century was highly variable. Cellists playing this suite on a modern four-string cello encounter difficulties as they are forced to use very high positions to reach many of

420-408: A section of demanding chords. It then returns to the scale theme, and ends with a powerful and surprising chord movement. The allemande is the only movement in the suites that has an up-beat consisting of three semiquavers instead of just one, which is the standard form. The second bourrée, though in C minor, has a two-flat (or G minor) key signature . This notation, common in pre- Classical music,

490-407: A solo singing accompanied by a kithara (an ancient strummed string instrument). The early realizations of these ideas, including Jacopo Peri 's Dafne and L'Euridice , marked the beginning of opera, which was a catalyst for Baroque music. Concerning music theory, the more widespread use of figured bass (also known as thorough bass ) represents the developing importance of harmony as

560-463: A technical term from scholastic logic. The term "baroque" is generally used by music historians to describe a broad range of styles from a wide geographic region, mostly in Europe, composed over a period of about 150 years. Though it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of

630-566: A tool for expression and communication. The etymology of baroque is likely via the French baroque (which originally meant a pearl of irregular shape), and from the Portuguese barroco ("irregular pearl"); also related are the Spanish barrueco and the Italian barocco . The term is of uncertain ultimate origin, but possibly from Latin verrūca ("wart") or possibly from Baroco ,

700-530: Is Antonio Vivaldi , who later composed hundreds of works based on the principles in Corelli's trio sonatas and concerti. In contrast to these composers, Dieterich Buxtehude was not a creature of court but instead was church musician, holding the posts of organist and Werkmeister at the Marienkirche at Lübeck. His duties as Werkmeister involved acting as the secretary, treasurer, and business manager of

770-400: Is a French overture . It begins with a slow, emotional movement that explores the deep range of the cello. After that comes a fast and very demanding single-line fugue that leads to the powerful end. This suite is most famous for its intimate sarabande, which is one of the few movements in the six suites that does not contain any double stops (chords). Mstislav Rostropovich described it as

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840-547: Is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the " classical music " canon , and is widely studied, performed, and listened to. The term " baroque " comes from the Portuguese word barroco , meaning " misshapen pearl ". The works of Antonio Vivaldi , George Frideric Handel and Johann Sebastian Bach are considered

910-514: Is often labelled the Age of Absolutism , personified by Louis XIV of France. The style of palace, and the court system of manners and arts he fostered became the model for the rest of Europe. The realities of rising church and state patronage created the demand for organized public music, as the increasing availability of instruments created the demand for chamber music , which is music for a small ensemble of instrumentalists. One pre-eminent example of

980-419: Is sometimes known as a partial key signature. The first and second bourrée of the 3rd Suite are sometimes used as solo material for other bass instruments such as the tuba, euphonium, trombone and bassoon. Suite No. 4 is one of the most technically demanding of the suites, as E ♭ is an uncomfortable key on the cello and requires many extended left hand positions. The key is also difficult on cello due to

1050-824: Is written in much more free form than the others, containing more cadenza-like movements and virtuosic passages. It is also the only one of the suites that is partly notated in the alto and soprano clefs (modern editions use tenor and treble clefs), which are not needed for the others since they never go above the note G 4 (G above middle C ). Mstislav Rostropovich called Suite No. 6 "a symphony for solo cello" and characterised its D major tonality as evoking joy and triumph. Professor Martin Jarvis of Charles Darwin University School of Music, in Darwin, Australia, speculated in 2006 that Anna Magdalena may have been

1120-572: The Encyclopédie : "Baroque music is that in which the harmony is confused, and loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, and the movement limited. It appears that term comes from the word 'baroco' used by logicians". Rousseau was referring to the philosophical term baroco , in use since the 13th century to describe a type of elaborate and, for some, unnecessarily complicated academic argument. The systematic application by historians of

1190-608: The Bach violin sonatas in 1854, but rejected his Bach cello-suite arrangements. His only cello-suite arrangement surviving is the one for Suite No. 3, discovered in 1981 by musicologist Joachim Draheim in an 1863 transcription by cellist Julius Goltermann . It is believed that Schumann's widow Clara Schumann , along with violinist Joseph Joachim , destroyed his Bach cello-arrangement manuscripts sometime after 1860, when Joachim declared them substandard. Writing in 2011, Fanfare reviewer James A. Altena agreed with that critique, calling

1260-498: The Western classical music practice. For instance, Italian composers switched to the galant style around 1730, while German composers such as Johann Sebastian Bach largely continued to write in the baroque style up to 1750. The Florentine Camerata was a group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de' Bardi to discuss and guide trends in

1330-599: The World Trade Center , while the names of the dead were read on the first anniversary of remembrance of those lost in the September 11 attacks . The 5th Suite is also exceptional as its courante and gigue are in the French style, rather than in the Italian form of the other five suites. An autograph manuscript of Bach's lute version of this suite exists as BWV 995 . It is widely believed that Suite No. 6

1400-518: The article wizard to submit a draft for review, or request a new article . Search for " Spalla " in existing articles. Look for pages within Misplaced Pages that link to this title . Other reasons this message may be displayed: If a page was recently created here, it may not be visible yet because of a delay in updating the database; wait a few minutes or try the purge function . Titles on Misplaced Pages are case sensitive except for

1470-468: The concerto grosso . Whereas Lully was ensconced at court, Corelli was one of the first composers to publish widely and have his music performed all over Europe. As with Lully's stylization and organization of the opera, the concerto grosso is built on strong contrasts—sections alternate between those played by the full orchestra, and those played by a smaller group. Fast sections and slow sections were juxtaposed against each other. Numbered among his students

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1540-440: The solo violin sonatas ) cannot be completely established. Scholars generally believe that—based on a comparative analysis of the styles of the sets of works—the cello suites arose first, effectively dating the suites earlier than 1720, the year on the title page of Bach's autograph of the violin sonatas. The suites were not widely known before the early 20th century. It was Pablo Casals who first began to popularize

1610-533: The 1998 Grammy Award for Best Instrumental Soloist Performance for his fifth recording of Six Unaccompanied Cello Suites . Unlike with Bach's solo violin sonatas , no autograph manuscript of the Cello Suites survives, making it impossible to produce modern urtext performing editions. Analysis of secondary sources, including a hand-written copy by Bach's second wife, Anna Magdalena , has produced presumably authentic editions, although critically deficient in

1680-523: The Baroque era to its climax, the High Baroque. Italy: France: Italy: Proliferation: France: Germany: Bohemia : Poland : Galant music : Bach's elder sons and pupils : Mannheim school : A characteristic of the Baroque form was the dance suite . Some dance suites by Bach are called partitas , although this term is also used for other collections of pieces. While

1750-597: The Renaissance, notably Carlo Gesualdo ; However, the use of harmony directed towards tonality (a focus on a musical key that becomes the "home note" of a piece), rather than modality , marks the shift from the Renaissance into the Baroque period. This led to the idea that certain sequences of chords, rather than just notes, could provide a sense of closure at the end of a piece —one of the fundamental ideas that became known as tonality . By incorporating these new aspects of composition, Claudio Monteverdi furthered

1820-600: The Venetian Francesco Cavalli , who was principally an opera composer. Later important practitioners of this style include Antonio Cesti , Giovanni Legrenzi , and Alessandro Stradella , who additionally originated the concerto grosso style in his Sonate di viole. Arcangelo Corelli is remembered as influential for his achievements on the other side of musical technique—as a violinist who organized violin technique and pedagogy—and in purely instrumental music, particularly his advocacy and development of

1890-497: The adaptation of theories based on the plastic arts and literature to music. All of these efforts resulted in appreciable disagreement about time boundaries of the period, especially concerning when it began. In English the term acquired currency only in the 1940s, in the writings of Bukofzer and Paul Henry Lang . As late as 1960, there was still considerable dispute in academic circles, particularly in France and Britain, whether it

1960-403: The arts, especially music and drama . In reference to music, they based their ideals on a perception of Classical (especially ancient Greek ) musical drama that valued discourse and oration. Accordingly, they rejected their contemporaries' use of polyphony (multiple, independent melodic lines) and instrumental music, and discussed such ancient Greek music devices as monody , which consisted of

2030-478: The bass by bassoons. Trumpets and kettledrums were frequently added for heroic scenes. The middle Baroque period in Italy is defined by the emergence of the vocal styles of cantata , oratorio , and opera during the 1630s, and a new concept of melody and harmony that elevated the status of the music to one of equality with the words, which formerly had been regarded as pre-eminent. The florid, coloratura monody of

2100-452: The beginning. The second part is a scale -based cadenza movement that leads to the final, powerful chords. The subsequent allemande contains short cadenzas that stray away from this otherwise very strict dance form. The first minuet contains demanding chord shiftings and string crossings. The Prelude of this suite consists of an A–B–A–C form, with A being a scale-based movement that eventually dissolves into an energetic arpeggio part; and B,

2170-713: The church, while his position as organist included playing for all the main services, sometimes in collaboration with other instrumentalists or vocalists, who were also paid by the church. Entirely outside of his official church duties, he organised and directed a concert series known as the Abendmusiken , which included performances of sacred dramatic works regarded by his contemporaries as the equivalent of operas. France: The work of George Frideric Handel, Johann Sebastian Bach and their contemporaries, including Domenico Scarlatti, Antonio Vivaldi , Tomaso Albinoni , Jean-Philippe Rameau, Georg Philipp Telemann, and others advanced

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2240-525: The claim. Baroque (music) Baroque music ( UK : / b ə ˈ r ɒ k / or US : / b ə ˈ r oʊ k / ) refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period , and was followed in turn by the Classical period after a short transition (the galant style ). The Baroque period

2310-433: The complete suites on this "new" instrument, known today as a violoncello (or viola) da spalla ; reproductions of the instrument have been made by luthier Dmitry Badiarov. The cellist Edmund Kurtz published an edition in 1983, which he based on facsimiles of the manuscript by Anna Magdalena Bach, placing them opposite each printed page. It was described as "the most important edition of the greatest music ever written for

2380-482: The composer of several musical pieces attributed to her husband. Jarvis proposes that Anna Magdalena wrote the six Cello Suites and was involved in composing the aria from the Goldberg Variations (BWV 988). Musicologists, critics, and performers, however, pointing to the thinness of evidence of this proposition, and the extant evidence that supports Johann Sebastian Bach's authorship, remain skeptical of

2450-446: The early Baroque gave way to a simpler, more polished melodic style. These melodies were built from short, cadentially delimited ideas often based on stylized dance patterns drawn from the sarabande or the courante . The harmonies, too, might be simpler than in the early Baroque monody, to show expression in a lighter manner on the string and crescendos and diminuendos on longer notes. The accompanying bass lines were more integrated with

2520-464: The essence of Bach's genius. Paul Tortelier viewed it as an extension of silence. Rostropovich, extending Tortelier's "silence" to an extreme, would sometimes play the Sarabande as a recital encore at a metronome marking of 32 or slower, one note per beat, with no vibrato and no slurs, each note standing alone in a "well of silence". Yo-Yo Ma played this movement on September 11, 2002 at the site of

2590-684: The first to record all six suites; his recordings are still available and respected today. In 2019, the Casals recording was selected by the Library of Congress for preservation in the National Recording Registry as "culturally, historically, or aesthetically significant". The suites have since been performed and recorded by many cellists. Yo-Yo Ma won the 1985 Grammy Award for Best Instrumental Soloist Performance for his album Six Unaccompanied Cello Suites . János Starker won

2660-417: The gigue. Only five movements in the entire set of suites are completely non-chordal, meaning that they consist only of a single melodic line. These are the second minuet of Suite No. 1, the second minuet of Suite No. 2, the second bourrée of Suite No. 3, the gigue of Suite No. 4, and the sarabande of Suite No. 5. The second gavotte of Suite No. 5 has but one unison chord (the same note played on two strings at

2730-729: The instrument". However, Kurtz chooses to follow the Magdalena text exactly, leading to differences between his and other editions, which correct what are generally considered to be textual errors in the source. Bach transcribed at least one of the suites, Suite No. 5 in C minor, for lute . An autograph manuscript of this version exists as BWV 995 . Using the Bach edition prepared by cellist Johann Friedrich Dotzauer and published by Breitkopf & Härtel in 1826, Robert Schumann wrote arrangements with piano accompaniment for all six Bach cello suites. Schumann's publisher accepted his arrangements of

2800-450: The keyboard player what intervals are to be played above each bass note. The keyboard player would improvise a chord voicing for each bass note. Composers began concerning themselves with harmonic progressions , and also employed the tritone , perceived as an unstable interval, to create dissonance (it was used in the dominant seventh chord and the diminished chord ). An interest in harmony had also existed among certain composers in

2870-403: The lack of resonant open strings. The prelude primarily consists of a difficult flowing quaver movement that leaves room for a cadenza before returning to its original theme. The very peaceful sarabande is quite obscure about the stressed second beat, which is the basic characteristic of the 4 dance, since, in this particular sarabande, almost every first beat contains a chord, whereas

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2940-433: The linear underpinnings of polyphony. Harmony is the result of counterpoint , and figured bass is a visual representation of those harmonies commonly employed in musical performance. With figured bass, numbers, accidentals or symbols were placed above the bassline that was read by keyboard instrument players such as harpsichord players or pipe organists (or lutenists ). The numbers, accidentals or symbols indicated to

3010-568: The melody, producing a contrapuntal equivalence of the parts that later led to the device of an initial bass anticipation of the aria melody. This harmonic simplification also led to a new formal device of the differentiation of recitative (a more spoken part of opera) and aria (a part of opera that used sung melodies). The most important innovators of this style were the Romans Luigi Rossi and Giacomo Carissimi , who were primarily composers of cantatas and oratorios, respectively, and

3080-401: The mixed vocal/instrumental forms of opera , cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue ), was an important part of many Baroque choral and instrumental works. Overall, Baroque music was

3150-433: The modern era until they were recorded by Pablo Casals (1876–1973) in the early 20th century. They have since been performed and recorded by many renowned cellists and have been transcribed for numerous other instruments; they are considered some of Bach's greatest musical achievements. An exact chronology of the suites (regarding both the order in which the suites were composed and whether they were composed before or after

3220-420: The most profound of all classical music works" and Wilfrid Mellers described them in 1980 as " Monophonic music wherein a man has created a dance of God". Due to the works' technical demands, étude -like nature, and difficulty in interpretation because of the non-annotated nature of the surviving copies and the many discrepancies between them, the cello suites were little known and rarely publicly performed in

3290-561: The most prominent Baroque composer of sacred music. The Baroque saw the formalization of common-practice tonality , an approach to writing music in which a song or piece is written in a particular key ; this type of harmony has continued to be used extensively in Western classical and popular music . During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by

3360-429: The notes. Performers specialising in early music and using authentic instruments generally use the five-string cello for this suite. The approach of Watson Forbes , in his transcription of this suite for viola, was to transpose the entire suite to G major, avoiding "a tone colour which is not very suitable for this type of music" and making most of the original chords playable on a four-stringed instrument. This suite

3430-412: The period composers experimented with finding a fuller sound for each instrumental part (thus creating the orchestra), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established

3500-428: The pieces in a dance suite were inspired by actual dance music, dance suites were intended for listening, not for accompanying dancers. Composers used a variety of different movements in their dance suites. A dance suite commonly has these movements : The four dance types (allemande, courante, sarabande, and gigue) make up the majority of 17th-century suites. Later suites interpolate one or more additional dances between

3570-594: The pinnacle of the Baroque period. Other key composers of the Baroque era include Claudio Monteverdi , Domenico Scarlatti , Alessandro Scarlatti , Alessandro Stradella , Tomaso Albinoni , Johann Pachelbel , Henry Purcell , Georg Philipp Telemann , Jean-Baptiste Lully , Jean-Philippe Rameau , Marc-Antoine Charpentier , Arcangelo Corelli , François Couperin , Johann Hermann Schein , Heinrich Schütz , Samuel Scheidt , Dieterich Buxtehude , Gaspar Sanz , José de Nebra , Antonio Soler , Carlos Seixas , Adam Jarzębski and others, with Giovanni Battista Pergolesi being

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3640-421: The placement of slurs and other articulations, devoid of basic performance markings such as bowings and dynamics, and with spurious notes and rhythms. As a result, the texts present performers with numerous problems of interpretation. German cellist Michael Bach has stated that he believes the manuscripts of the suites by Anna Magdalena Bach are accurate. According to his analysis, the unexpected positioning of

3710-618: The première in October 1733 of Rameau's Hippolyte et Aricie, printed in the Mercure de France in May 1734. The critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device. Jean-Jacques Rousseau , who was a musician and composer as well as philosopher, wrote in 1768 in

3780-426: The same time), but only in the original scordatura version of the suite; in the standard tuning version it is completely free of chords. The prelude, mainly consisting of arpeggiated chords , is the best known movement from the entire set of suites and is regularly heard on television and in films. The Prelude consists of two parts, the first of which has a strong recurring theme that is immediately introduced in

3850-1094: The sarabande and gigue: There are many other dance forms as well as other pieces that could be included in a suite, such as Polonaise , Loure , Scherzo , Air , etc. spalla Look for Spalla on one of Misplaced Pages's sister projects : [REDACTED] Wiktionary (dictionary) [REDACTED] Wikibooks (textbooks) [REDACTED] Wikiquote (quotations) [REDACTED] Wikisource (library) [REDACTED] Wikiversity (learning resources) [REDACTED] Commons (media) [REDACTED] Wikivoyage (travel guide) [REDACTED] Wikinews (news source) [REDACTED] Wikidata (linked database) [REDACTED] Wikispecies (species directory) Misplaced Pages does not have an article with this exact name. Please search for Spalla in Misplaced Pages to check for alternative titles or spellings. You need to log in or create an account and be autoconfirmed to create new articles. Alternatively, you can use

3920-469: The second beat most often does not. Suite No. 5 was originally written in scordatura with the A-string tuned down to G, but nowadays a version for standard tuning is included in almost every printed edition of the suites along with the original version. Some chords must be simplified when playing with standard tuning, but some melodic lines become easier as well. The Prelude is written in an A–B form, and

3990-515: The slurs corresponds closely to the harmonic development, which he suggests supports his theory. His position is not universally accepted. The most recent studies into the relationships among the four manuscripts show that Anna Magdalena Bach's manuscript may not have been copied directly from her husband's holograph but from a lost intervening source. Thus, the slurs in the Magdalena manuscript may not come from Bach himself and would not be clues to their interpretation. Recent research has suggested that

4060-416: The string-dominated norm for orchestras, which was inherited from the Italian opera, and the characteristically French five-part disposition (violins, violas—in hautes-contre, tailles and quintes sizes—and bass violins ) had been used in the ballet from the time of Louis XIII. He did, however, introduce this ensemble to the lyric theatre, with the upper parts often doubled by recorders, flutes, and oboes, and

4130-480: The subsequent period. Idiomatic instrumental textures became increasingly prominent. In particular, the style luthé —the irregular and unpredictable breaking up of chordal progressions, in contrast to the regular patterning of broken chords—referred to since the early 20th century as style brisé , was established as a consistent texture in French music by Robert Ballard , in his lute books of 1611 and 1614, and by Ennemond Gaultier . This idiomatic lute figuration

4200-486: The suites were not necessarily written for the familiar cello played between the legs ( da gamba ), but an instrument played rather like a violin, on the shoulder ( da spalla ). Variations in the terminology used to refer to musical instruments during this period have led to modern confusion, and the discussion continues about what instrument "Bach intended", and even whether he intended any instrument in particular. Sigiswald Kuijken and Ryo Terakado have both recorded

4270-694: The suites, after discovering an edition by Friedrich Grützmacher (who was the first cellist to perform an entire Bach suite) in a thrift shop in Barcelona in 1889 when he was 13. Although Casals performed the suites publicly, it was not until 1936, when he was 60 years old, that he agreed to record them, beginning with Suites Nos. 2 and 3, at Abbey Road Studios in London. The other four were recorded in Paris: 1 and 6 in June 1938, and 4 and 5 in June 1939. Casals became

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4340-630: The surviving Bach-Schumann cello/piano arrangement "a musical duckbilled platypus, an extreme oddity of sustained interest only to 19th-century musicologists". Joachim Raff , in 1868 while working on his own suites for solo piano and for other ensembles, made arrangements of the suites for piano solo, published from 1869 to 1871 by Rieter-Biedermann. In 1923, Leopold Godowsky composed piano transcriptions of Suites Nos. 2, 3, and 5, in full counterpoint for solo piano, subtitling them "very freely transcribed and adapted for piano". The cello suites have been transcribed for numerous solo instruments, including

4410-774: The term "baroque" to music of this period is a relatively recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflin 's theory of the Baroque systematically to music. Critics were quick to question the attempt to transpose Wölfflin's categories to music, however, and in the second quarter of the 20th century independent attempts were made by Manfred Bukofzer (in Germany and, after his immigration, in America) and by Suzanne Clercx-Lejeune (in Belgium) to use autonomous, technical analysis rather than comparative abstractions, in order to avoid

4480-476: The transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition—the heritage of Renaissance polyphony ( prima pratica ) and the new basso continuo technique of the Baroque ( seconda pratica ). With basso continuo, a small group of musicians would play the bassline and the chords which formed the accompaniment for a melody . The basso continuo group would typically use one or more keyboard players and

4550-408: The tunings of the strings, and the other sources do not mention any intended instrument at all. Other possible instruments for the suite include a cello da spalla , a version of the violoncello piccolo played on the shoulder like a viola , as well as a viola with a fifth string tuned to E, called a viola pomposa . As the range required in this piece is very large, the suite was probably intended for

4620-420: The violin, viola, double bass, viola da gamba, mandolin, piano, marimba, classical guitar, recorder, flute, electric bass, horn , saxophone, clarinet, bassoon, trumpet, trombone, euphonium, tuba, ukulele, and charango . They have been transcribed and arranged for orchestra as well. The suites are in six movements each, and have the following structure and order of movements. Scholars believe that Bach intended

4690-403: The works to be considered as a systematically conceived cycle, rather than an arbitrary series of pieces. Compared to Bach's other suite collections, the cello suites are the most consistent in order of their movements. In addition, to achieve a symmetrical design and go beyond the traditional layout, Bach inserted intermezzo or galanterie movements in the form of pairs between the sarabande and

4760-437: Was composed specifically for a five-stringed violoncello piccolo , a smaller cello, roughly 7 ⁄ 8 normal cello size with a fifth upper string tuned to E, a perfect fifth above the otherwise top string. However, some say there is no substantial evidence to support this claim: whilst three of the sources inform the player that it is written for an instrument à cinq cordes , only Anna Magdalena Bach 's manuscript indicates

4830-401: Was later transferred to the harpsichord, for example in the keyboard music of Louis Couperin and Jean-Henri D'Anglebert , and continued to be an important influence on keyboard music throughout the 18th and early 19th centuries (in, for example, the music of Johann Sebastian Bach and Frédéric Chopin ). The rise of the centralized court is one of the economic and political features of what

4900-535: Was meaningful to lump together music as diverse as that of Jacopo Peri , Domenico Scarlatti , and Johann Sebastian Bach under a single rubric. Nevertheless, the term has become widely used and accepted for this broad range of music. It may be helpful to distinguish the Baroque from both the preceding ( Renaissance ) and following ( Classical ) periods of musical history. Throughout the Baroque era, new developments in music originated in Italy, after which it took up to 20 years before they were broadly adopted in rest of

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