MENU

BACH PROJECT


RESEARCH PROJECT ABOUT THE ORIGIN AND TECHNIQUE OF THE VIOLONCELLO AND THE BACH CELLO SUITES, 

by Marianne Dumas

.


.

A NEW VISION


In October 2014, because of the similarity between the bass viol and the cello, I tried to inverse the bowing technique of the violoncello in the Bach Cello Suites. During this experiment, I instantaneously felt a better response from the instrument and by consequence, more resonance. 

This experience led me to start  a project including: a research about the origins, the setup, and the bowing technique of the violoncello, the making of a new Urtext edition, and the recording of this edition 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. » 

MD 

:.

Marianne Dumas

from a personnal investigation to a long project

.
.

Staatliches Institut für Musikforschung in Berlin 

Marianne began her researchs in 2009. She first investigated the technique, posture and resonance of the instrument always using the Bach Cello Suites as a reference and in 2014, as she was still looking for more answers, 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 her research in libraries including the research institut for musicology of Berlin.

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 the instruments of the project (full baroque set up).

Bach Cello Suites CD recording

.

"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 


Read more about the bowing technique

Choose a music service...

Presto Classical

download, flac quality

Spotify

Streaming

Deezer

Streaming

.


bach journey


PROJECT TIMELINE

2014-2018

.

  • Arrived in Berlin

    09/03/2014

  • Started the search of the bow for the Suites

    09/10/2014

  • The Baroque Cello of the project

    09/15/2014

    Made by Daniel König in Leipzig

  • 09/26/2014

  • What if a dow stroke was an up bow in cello playing?

    10/10/2014

  • The strings

    10/21/2014

    Set of strings made by Pure Cordes, Potsdam

  • Understanding how write slurs...

    11/03/2014

  • URTEXT EDITION

    10/14/2014

    Making the new urtext edition
    October 2014-December 2015

  • THE BOW!

    11/28/2014

    Mr. Reiners was of a precious help. I asked him for a model of bow that was used in Germany when Bach composed the Suites. A clip in frog bow.

  • Kept exploring the set-up possibilities in Leipzig

    03/14/2015

    With Daniel König, the maker of the cello

  • Meeting with Ton Koopman

    06/25/2015

    A very helpful meeting where we talked about phrasing with Maestro Koopman, I also explained my technique to him and received his encouragements

  • RECORDED THE 6 SUITES

    03/17/2016

    5 days at the B#Sharp Studio in Berlin

  • Meeting with Yo-Yo Ma

    10/26/2016

    A Very nice meeting with Yo-Yo Ma, where he gave me his support

  • Received Ton Koopman's comments about the recording

    09/03/2018

    "I listened to the 6 Bach suites with pleasure. Very well done, I liked very much the resonance, intonation and the way of playing. Very convincing. A very good work and great success technically."

  • The New Edition

    09/03/2017

    Entered my Urtext edition of the Suites in the computer (the one of the recording)

  • Signed with URANIA RECORDS

    01/15/2018

  • The recording

    2018

.

The Edition


A NEW URTEXT EDITION 
.


When she started her research, Marianne's aim was not only to understand the slurs of the manuscripts but to understand the mechanic of the sound of the instrument. 

When she noticed that the baroque cello gained a lot of resonance by reversing the bowing technique, Marianne started looking at the score as if it was composed to use similar bow strokes to the viola da gamba. She then reanalyzed the 4 manuscript copies of Suites and made a new urtext edition. 

The new edition can be played with "regular" technique, with strong bow on the down; or with the strong bow on the up bow (like on the gamba).


The edition should be available in the coming months. 


Listen to the recording of this edition



.