Сюита для виолончели № 3 в До мажоре, BWV 1009, вероятно, была написана между 1717 и 1723 годами, когда композитор занимал должность капельмейстера в Кётене. На самом деле, однородность и согласованность этих произведений предполагают, что они могли быть написаны вместе или, скорее, последовательно. Сюита № 3 в До мажоре, в частности, состоит из Прелюдии, Аллеманды, Куранты, Сарабанды, двух Бурре и Жиги. Сюита начинается с величественной нисходящей темы, вдохновленной гаммой До мажор, которая развивается в очень энергичной гармонической прогрессии. Как отметил скрипач Уильям Плит, чтобы исполнить Сюиту № 3 Баха, необходимо уделить внимание особой полифонии партитуры.
Просмотреть записи Сюита для виолончели соло № 3 до мажор, BWV 1009
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The history of Bach’s Cello Suites, including the Cello Suite No. 3 in C Major, is not at all linear, and for a time these works were largely forgotten. Perhaps the magnificence of the original score will never be restored, but the polyphony of his numerous rewritings led to an immense range of interpretations and sparked a fascination that is difficult to match. The publication and rediscovery of Bach’s Cello Suites, and therefore the Suite No. 3 in C Major, are mainly due to Pablo Casals, who found the Grützmacher edition of the Suites in Barcelona when he was only 13. He immediately started to study it, but the first public performance did not take place until 1925 when Pablo Casals was 48 years old. To him we also owe the first recording of Bach’s Cello Suites, including the Suite No. 3 in C Major. Nowadays, Bach’s Cello Suites are considered an essential classic in the cello repertoire, with many recordings by the best performers of the musical scene. Come and listen to Bach’s Cello Suite No. 3 in C Major (but also his Suite No. 5) on medici.tv, whenever you want, wherever you are!