Suites para Violonchelo de Bach, violon

Un proyecto único

 POR MARIANNE DUMAS

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Más de 4 años de investigación, un proyecto de grabación sobre los orígenes, la técnica del violonchelo y las Suites de Bach para violonchelo solo.

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"Some move the bow as it 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 

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comenzó como una investigación personal y se convirtió en un proyecto de investigacíon y grabación.

al reves ?!


"En octubre de 2014, debido a la similitud entre la viola da gamba y el violonchelo barroco, intenté invertir la técnica de arco del violonchelo en las Suites de Bach. Durante este experimento, instantáneamente sentí una mejor respuesta del instrumento y, por consiguiente, más resonancia.
Esta experiencia me llevó a comenzar un proyecto que incluye: una investigación sobre los orígenes, la configuración y la técnica de arco del violoncello, la creación de una nueva edición de Urtext de las Suites, y la grabación de esta edición en la con los.
El sonido fue mi guía. Mi objetivo era alcanzar una conexión entre la vibración del violonchelo y la armonía para permitir que la música de Bach haga su magia. »

MD 

..

    a journey

Marianne comenzó sus investigaciones en 2009. Primero investigó la técnica, la postura y la resonancia del instrumento utilizando siempre las Suites de Bach como referencia. En 2014, cuando todavía estaba buscando más respuestas, Marianne se mudó a Berlín y comenzó a trabajar a tiempo completo en su proyecto. Una vez en Berlín, tuvó encuentros con fabricantes de instrumentos, cuerdas, arcos barrocos, realizó su investigación en bibliotecas, incluido el instituto de investigación en musicología de Berlín.

Siguiendo este proceso, escribió una publicación sobre el violoncello, su origen, técnica, configuración y evolución. También hizo una nueva edición de Bach Cello Suites y la grabó con los instrumentos del proyecto (configuración completamente barroca).

 CALENDARIO DEL PROYECTO

  • Arrived in Berlin

    03/09/2014

  • Started the search of the bow for the Suites

    10/09/2014

  • The Baroque Cello of the project

    15/09/2014

    Made by Daniel König in Leipzig

  • 26/09/2014

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

    10/10/2014

  • The strings

    21/10/2014

    Set of strings made by Pure Cordes, Potsdam

  • Understanding how to write slurs...

    03/11/2014

  • URTEXT EDITION

    14/10/2014

    Making the new urtext edition
    October 2014-December 2015

  • THE BOW!

    28/11/2014

    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

    14/03/2015

    With Daniel König, the maker of the cello

  • Meeting with Ton Koopman

    25/06/2015

    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

    17/03/2016

    5 days at the B#Sharp Studio in Berlin

  • Meeting with Yo-Yo Ma

    26/10/2016

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

  • Received Ton Koopman's comments about the recording

    03/09/2018

    "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

    03/09/2017

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

  • Signed with URANIA RECORDS

    15/01/2018

  • The recording

    2018

Investigación en Berlín
Staatliches Institut für Musikforschung in Berlin 

To read about the instruments, strings, bow: clic here

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How did you make this discovery?

I became aware of the fact that the baroque cello resonates far more when you reverse the bow strokes, which is very similar to the method of bowing on the viola da gamba.
(...) I then explored this idea and began playing the prelude of the First Suite on an up bow, which had seemd to me to be completely irrational. This experiment convinced me, I felt the vibration of the violoncello ad my arm followed the order of the strings in the arpeggios. The idea of reversing the bowing technique seemed to me illogical for a cellist but the more I experienced it, the more I became convinced I had keep exploring this topic.  
 […] Ton Koopman had played an important role for me. He encouraged me from the start of my project and we have had important discussions about phrasing together. He then sent me his observations after listening to the recording which really touched me. 

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The Edition


A NEW URTEXT EDITION 
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NEW urtext edition of the Bach Cello Suites

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 2020


Listen to the recording of this edition