Bach Masterclass: Prelude from Suite No. 5 - Musings with Inbal Segev

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Hello Cellists,
Today I’m talking about the Prelude from Bach’s Cello Suite No. 5 in C minor, BWV 1011. I highly recommend learning this suite by tuning your A string down to G. This will change the resonance of your cello and make it possible to play all of the chords that Bach wrote. Follow along with me as I point out subtleties for a richer performance: “improvising” between the chord progressions at the beginning, emphasizing gestures, articulating cadences, and bringing out hemiolas.
Below is a short reading list and helpful links for studying the Bach cello suites. Please let me know if you have any comments and/or questions, I would love to hear from you. Thank you for watching!!
My favorite lute rendition of the 5th suite: • Lute Suite in G Minor,...
My copy of the D minor Prelude, with bowings and fingerings: server.21cmediagroup.com/fl/G...
Download the most important sources we have of the suites right here for free:
bit.ly/BachCelloSuitesIMSLP
Allen Winold’s book: Bach’s Cello Suites: Analyses and Explorations
www.amazon.com/Bachs-Cello-Su...
"The Fencing Master" and the sequel, "Bach and the Happy Few," are both must reads if I may say so, written by THE baroque cellist of our time, Anner Bylsma.
www.bylsmafencing.com/bach_the...
Another must-have is Barenreiter’s urtext edition, which contains facsimiles of the manuscript copies in the hand of Anna Magdalena Bach, Johann Peter Kellner, as well as the Westphal library manuscript (anonymous copiers), first editions, and more.
www.sheetmusicplus.com/title/...
Inbal
inbalsegev.com

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6 июл 2024

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Комментарии : 29

@euledj79 Год назад

I'm so fascinated about your tone and resonant Instrument! I guess that not every 1 million $-cello has such a decent sound 😌 Great gothic-outfit matching the mood of this piece. A real pleasure to watch your class!

@TrioTelopea 6 лет назад

Thanks Inbal, I love your videos. I find them so helpful! Thanks for sharing :)

@MusicaAngela 6 лет назад

This is so helpful! Thank you for sharing your insights and skill. I love “trills have feelings too”!

@MaciejJura 6 лет назад

Lady you've got a like for that line "notes are not created equal in Bach", I see what you did there :D

@amandaandrews9374 5 лет назад

Thank you for all of the hard work that you do to share with all of us! I am so grateful! I can’t wait to see you perform live at Chautauqua this summer.

@audwinjones9079 Год назад

Your tone is too much!!!! Your instrument is a resonating cavity that was made for this type of music. It’s effortless and I am so jealous. This is one of my favorite pieces of music as Pablo Casals has a great take on this too. Thanks for producing and sharing meaningful music and sharing your take and talents with this audience.

@xxbstpagexx 5 лет назад

Magnificent. Bravo!

@JohnWilliams-mr7bd 2 года назад

Thank you, such voicings, such clarity!

@paulgerards6494 3 года назад

Hi Inbal your sound is amazing and you look stunning !! THX !!

@ronfurzeland6114 5 лет назад

Very useful, I am carrying your ideas across to the Bach violin sonatas and partitas

@skakdosmer 5 лет назад

Wow! You play well - and just about exactly the way I'd like to be able to play it. But I always struggled with this movement. Thanks for the video.

@DukeOfTheBLVD Год назад

Trills have feelings too!

@GustavoSilva-hm6rp 6 лет назад

great!!!!!!

@aronpetrusbolonicellist 6 лет назад

Great advices. Only one thing if you let me to say. My teacher Miklós Perényi ( we use as well Ana Magdalena only ) sayd the second line second bar e flat should be longer as in the score it is. He plays the E flat on the G string and the up c on the C string links together with the next C. It gives sence a bit more. Anyways thank you for the video. Nice experience.

@asherwade 5 лет назад

I'm sooo happy that you play this on a 'modern' instrument [and, no, I'm not as nasty as Pinchus Zuckerman about 'baroque' instruments, ...but, I see, you 'also' use an electric pick-uP; cool]; {8~) (( I wrote a longer message on your study on the "Sarabande" for this Suite #5. I'm already a fan even though I play violin, viola and piano for cir. 48yrs., ....but, I've already learned some very interesting techniques from you which I can apply to my viols; thus, I've subscribed.)) Thanks-!!!

@Inbalsegevcello 5 лет назад

Asher Wade Thank you for writing! I am so happy to know that my musings inspire not just cellists😀😀😀

@evelynpfriem8499 4 года назад

It's the same thing with all of the cello suites. Whatever key it's in. It'll always come back to that note.

@askaryambus 2 года назад

Hi, the link in the description to your notes is broken. Is it possible to get it working again? I'm interested in reading your bow movements and fingers. Thanks!

@issues9828 2 года назад

Inbal, I've noticed something curious about some of the cellists who have recorded this piece. I've looked at Casals', Rostropovich's, and Mainardi's recordings of the suites. Each performer recorded the suites more than once. I noticed a pattern whereby their earlier recordings are played slower than their later recordings. So, if you compare Casals' '36 recording to his '55 recording, the '55 is at a faster tempo. Rostropovich's '91 recording is at a faster tempo than his 1950's recording. And Mainardi's '60's recording is faster than his '50's recording. I personally prefer the later, faster recordings. They seem to be played with less labor and emotion, and you also get a better sense for the structure of the music. Had you noticed this pattern? Do you know why these performers might all have played faster as they aged?

@Inbalsegevcello 2 года назад

Hello, I can see why a second recording can be faster. As artists grow, they or we, see the bigger picture so to speak, I feel that if I were to record the Bach suites again, some of the dance movements will be faster too. That said, I believe Glenn Gould played his last recording of the Goldberg variations slower, with less emphasis on virtuosity, then his earlier recording.

@issues9828 2 года назад

@@Inbalsegevcello If you use the Prelude to Suite 1 as a benchmark, Casals' 1930s recording is 2:30, while the '54 recording is 2:00.