« When I rediscovered the sound of the violoncello by reversing the bowing technique, I decided to start a research and a recording project in order to explore and share this experience.
For this recording, I tried to stay as close as possible to the text and to the spirit of the dances, playing on the most authentic set up. The sound was my guide. My goal was to reach a connection between the vibration of the violoncello and the harmony in order to let Bach's music make its magic. »
This website is part of an independant research project about the violoncello led by Marianne Dumas. Marianne began her researchs after she graduated from Carnegie Mellon University, USA. She first investigated the technique, posture and resonance of the instrument always using the Bach Sello Suites as a reference. In 2014, as she was still looking for more answers in the Suites, Marianne moved to Berlin and started to work full time on her project. Once in Berlin, she first worked with makers of baroque instruments, had encounters with baroque specialists, made research in many libraries including the research institut for musicology at the Berlin Philhamonie and collected a lot of historical documents. Following this process, she wrote a publication about the violoncello, its origin, technique, set -up and evolution. She also made a new edition of the Bach Cello Suites and recorded it with
REVERSING THE BOWING TECHNIQUE OF THE BAROQUE CELLO
"Some move the bow as is customary on the viola da gamba, that is, instead of a down-stroke from left to right for the principal notes,
they make an up-stroke from right to left, beginning from the tip of the bow."
J. J. Quantz about cellists, Berlin, 1752
excerpt from "The art of playing the flute".
Staatliches Institut für Musikforschung in Berlin (The research institution for musicology of Berlin)
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