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Cello Suites 1–6 Maja Weber Violoncello Johann Sebastian Bach · Painting by Elias Gottlob Haußmann

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Cello Suites 1–6 Maja Weber Violoncello Johann Sebastian Bach · Painting by Elias Gottlob Haußmann Bach cello Suites 1–6 maja weber violoncello Johann Sebastian Bach · Painting by Elias Gottlob Haußmann 2 JOHANN SEBASTIAN BACH 1685–1750 Suite for Violoncello No. 1 in G major, BWV 1007 Suite for Violoncello No. 4 in E-flat major, BWV 1010 1 I. Prélude 2.57 19 I. Prélude 4.32 2 II. Allemande 4.18 20 II. Allemande 3.44 3 III. Courante 2.36 21 III. Courante 3.39 4 IV. Sarabande 2.15 22 IV. Sarabande 3.41 5 V. Menuet I/II 3.13 23 V. Bourrée I/II 5.39 6 VI. Gigue 1.44 24 VI. Gigue 2.40 Suite for Violoncello No. 2 in D minor, BWV 1008 Suite for Violoncello No. 5 in C minor, BWV 1011 7 I. Prélude 4.10 25 I. Prélude 5.50 8 II. Allemande 3.26 26 II. Allemande 5.06 9 III. Courante 2.10 27 III. Courante 2.19 10 IV. Sarabande 4.15 28 IV. Sarabande 3.02 11 V. Menuet I/II 3.05 29 V. Gavotte I/II 4.59 12 VI. Gigue 2.41 30 VI. Gigue 2.24 Suite for Violoncello No. 3 in C major, BWV 1009 Suite for Violoncello No. 6 in D major, BWV 1012 13 I. Prélude 4.19 31 I. Prélude 5.17 14 II. Allemande 3.38 32 II. Allemande 7.32 15 III. Courante 3.37 33 III. Courante 3.59 16 IV. Sarabande 3.12 34 IV. Sarabande 4.25 17 V. Bourrée I/II 3.50 35 V. Gavotte I/II 4.23 18 VI. Gigue 3.19 36 VI. Gigue 4.22 3 MAJA WEBER violoncello Stradivari-Cello Bonamy Dobrée-Suggia 1717 Recorded: 27–28 June & 1, 2, 8, 9 July 2019, Reformierte Kirche Marthalen, Switzerland Produced & engineered by Andreas Werner Executive producer: Martin Korn Texts: Erwin Nigg Artwork: Christine Schweitzer, Cologne Cover photo, p. 28: Marco Borggreve booklet photos: Jan Röhrmann (cello) | private (recording sessions) Total time: 2:16:31 P & g 2019 Martin Korn Music Production PROSPERO strad – dedicated to the wonderful instruments crafted by Antonio Stradivari (1644–1737). www.prospero-classical.com 4 45 Johann Sebastian Bach’s “Suites à Violoncello Solo senza Basso” This is the title that Bach’s second wife, Anna Magdalena, gave to her copy of her husband’s Six Suites for Unaccompanied Violoncello. The composer’s original autograph score has never been found. An earlier copy prepared by the organist Jo- hann Peter Kellner survived in incomplete form and contains many questionable entries. Two further copies from the se- cond half of the eighteenth century have also come down to us, neither of them naming the copyist. ´ These circumstances raise many questions and open up the way to corresponding speculations. One such speculation even goes so far as to doubt Bach’s author ship and to argue that it was Anna Magdalena who was not just responsible for copying the work but for composing it, too. Of far greater significance for interpreters and for the work’s performance is the fact that the four existing copies contain substantial and often completely self-contradictory differences in terms of their bowing, articulation, dynamics and ornamentation. Anna Magdalena’s copy contains no markings relating to tempo, dynamics and ornaments, and although this was not unusual in the case of music notated in the years around 1720, it does not make it any easier for us to reach interpretative decisions, especially from a distance of several centuries. The fact that a Baroque composer, writing in the age of the continuo, could forgo the use of a continuo group was pre- sumably felt to be strange and even puzzling – and not just by Bach’s contemporaries. And the fact that a string instrument – or, rather, string instruments, since the sixth suite’s Gigue was intended to be performed on a five-string instrument (possibly a viola pomposa, a violoncello piccolo or a violoncello da spalla) – on which it is possible to play on a maximum of only two strings at a time was intended to create a polyphonic effect in either real or purely imaginary terms has continu- ed to pose a particular challenge for performers right down to the present day. The fascination felt by musicians keen to confront this Herculean task continues to ensure that these unique suites have been recorded on countless occasions. These recordings are far more than merely a record of often very different inter- pretations and the corresponding interpretative decisions, for they also attest to the magnificence of a work which even after three hundred years offers ample opportunities not just for us to discover and elucidate it but also to feel a very real mixture of astonishment, edification and enjoyment. 6 MAJA WEBER in conversation What persuaded you to record Johann Sebastian Bach’s Suites for Unaccom- When he wrote his suites for violoncello, Bach was in Cöthen, where he was panied Violoncello? largely concerned with instrumental music in his capacity as the court’s Kapellmeister and where he had excellent musicians at his disposal. Perhaps it My focus in fact is almost entirely on performing in chamber ensembles, was this that made him write a polyphonic work for a melody instrument. principally as a violoncellist in string quartets. But in recent years I have taken a closer interest in the sonatas of Beethoven and Brahms, which I have also There is something very special about being in total control of every aspect recorded, and this has led me in turn to Bach. The decision to release his and every parameter of a work – and also of being obliged to control them. suites for violoncello was additionally encouraged by the fact that after As string players we can rarely do this. We are either performing in an en- twenty years I am returning the “Suggia” Stradivari violoncello to the Habis- semble with partners who are our equals or else we’re being accompanied. reutinger Foundation. For me, this has been a wonderful ending! There is always some kind of interaction. There are even lovers of Bach and of the Baroque who regard these suites as some- So presumably you don’t think it was a particular shame that Robert Schumann what austere and inaccessible, suspecting that in writing them the composer failed to find a publisher for his nineteenth-century arrangement of the suites for perhaps had no more than a didactic aim. violoncello and keyboard. Yet there’s no doubt that Bach’s contemporaries, too, found it strange that there was no continuo to provide a harmonic basis for the What inspires me with all music is its thrilling harmonic writing. In these solo cello and felt that the work was somehow incomplete in consequence. suites the harmonic writing is extraordinarily rich and varied, triggering powerful emotions in me; this is something that you can sense without the That may be so, but I really don’t miss anything in these six suites. Quite the need for any harmonic analysis. There is no doubt that this takes place on opposite: they would be robbed of their uniqueness if changes were made the highest level and that it is also artistically demanding, but it is certainly that were felt to improve them. Precisely because they are so unusual, they not academic. create a refreshingly unconventional impression even today. In spite of this, 7 What sort of an effect does it have on you to prepare for a recording that aims to capture your work in a way that can be reproduced and widely disseminated? In my own view sound recordings shouldn’t be regarded as being definitive in character. The concentrated work that’s involved both before and after the recording is invariably an opportunity to get to know oneself better. This has been the case with me with each of my more than twenty recordings. We’ve mentioned that in your activities as a musician and as a chamber musician, baroque music has so far played only a peripheral role. In preparing for the present recording, did you take your cue from the sort of criteria that are asso- ciated with historically informed performance practices? The residence of Cöthen, around 1650; engraving by Matthäus Merian I’ve been playing a baroque instrument, a Stradivari violoncello that was made in Cremona in 1717 – at more or less the same time that Bach was writing his suites in Cöthen – but I’ve never subscribed to the tenets of historically informed performance practice. I’m still thinking of including Schumann’s arrangements at one of my future recitals. But won’t this expose you to criticism from purists or Baroque specialists? Yet in music, too, any engagement with unconventionality may require great effort. That’s undoubtedly true. But I think that no matter how much you may want to come as close as possible to the composer’s ostensible intentions, you But that’s a good thing because it provides a constant incentive. My intense still have to take decisions based on your own sense of responsibility to- engagement with these suites has similarly helped me to develop as a musician. wards the work. One of the things I’d like to convey is that I’m playing a 8 Courante from Suite No. 2 work which from today’s perspective dates from a period that’s long past. music from every conceivable genre, epoch, region and so on and not least But you can’t deny that we’re profoundly affected by the circumstances of by all our experiences as listeners – this final factor is particularly important.
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