Tags
Allemande, cello, Cello Suites (Bach), cellos, Courante, Recreation, Relative key, sarabande, Tonic, Tritone
BWV 1007 4. Sarabande
A HUUUUUUUGE contrast from a go-go-go prelude, a rapid but paced Allemande that reminds me of trying to speed through surface street traffic, and then a Courante that just skips along till its done.
The Sarabande isn’t a long piece at all, short ‘n sweet,
it tells its story and leaves.
If tempo guideline is given, it is typically Largo, so slow.
disregard the rogue note at the end. I had practiced 4 hrs previous (other stuff, not this piece in particular) and was tired but wanted to record, as the video camera is 2 weeks new and I’ve been excited to use it
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The Tritones in the 2nd half–
The second half is interesting to me, how it builds this tone of enticement, and the triple-stop chords build up from a low 3-note structure, and then a tritone, both reinforcing the previous, but also adding suspense and anticipation of the tritone to resolve to the Tonic key.
The resolution to G (tonic) is assertive, but quickly dismissed by the dissonance of the trilled tritone interval following it, which has a repulsed voice of its own, rejecting the idea of resolution earlier, and continuing the conflict.
the tension heightens as more tritons move the notes upward, and finally fall down to an octave (high to low) of E, the relative minor of the piece. The tone is tight-lipped.
A meek interval of G falling to resolve into C slips, like a third party who’d come to check in on the argument, and is responded to with another (D# to C) jump, then fall to Am.
as the notes float down, Tritones no longer appear, and we are met with the dull roar of open D paired up with a murmer of B-C-A-B played on the G string. The final measures parallel the ending of the first half, giving the piece symmetry and closure.
celloveck 