Cello Suites According To Anna Magdalena [Bach], (Matt Haimovitz, Cello), The

Bach (1685-1750) probably composed these Suites in 1717-1723, but exactly when and why remains a mystery. Each Suite begins with a Prelude followed by stylized dances. The dances’ mood and form differ from one suite to another, taking their cue from the Prelude (see each below). Acclaimed cellist Matt Haimovitz describes these Suites as “philosophical ruminations on human nature, food for the soul . . . wondrous, challenging and transcendent works." He explains Anna Magdalena’s (Bach’s 2nd wife’s) markings are guides to Bach’s intensions. He notes Suites in G, D and C celebrate the cello’s natural overtones. Suite V calls for scordatura tuning (here, the A string tuned to G), which darkens the cello’s sound, enhancing the music’s foreboding affect. In Suite VI, Bach also extends the cello’s virtuosic parameters, imagining a cello with 5 strings rather than the standard 4. The cellist reaches into the higher registers with ease, explores a rich palette of chords and ethereal and haunting sounds. Haimovitz’ 1710 cello, with gut strings, allows him to heighten the illusion of counterpoint. His replica Baroque Period bow also colors the sound.