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

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Hello Cellists,
The Sarabande from Bach’s Cello Suite No. 5 in C minor, BWV 1011, makes the desert island list for many of us. I hope that this class will give you some new ideas and inspiration for practice and performance.
Below is a short listening and reading list with 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!!
Inbal
Listen to Cantata BWV 21. In part 1, the aria - "Seufzer, Tränen, Kummer, Not" - has many similarities to our sarabande:
• J.S. Bach / Ich hatte ...
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/6...
inbalsegev.com

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Опубликовано:

18 апр 2017

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Комментарии : 24

@brandonchai9318 7 лет назад

thank you so much for your time in providing these videos Ms. Segev. While I am just a beginner at the cello, I look forward to revisit these wonderful musings in the future.

@xxbstpagexx 7 лет назад

These videos are incredible - very helpful and informative. Thank you for recording them and making them available. I had never tried to play this piece before watching this video. It has opened my eyes and ears. Your tone and technique are phenomenal. Your explanations and demonstrations unlock some of the hidden mysteries of these pieces.

@icemanhank 6 лет назад

Thank you for this great video Inbal

@MilciadesAndrion 6 лет назад

Thanks for your explanations. This is a great video.

@moekoaiba 6 лет назад

Thank you for your wonderful video! Ima student studying cello. Your videos helped me A LOT!!! I really hope if you can make more videos for Suite No.5. And I was wondering about the colors for the notes. I would like to know the meanings. Thank you :)

@charlesrivera2703 4 года назад

love that you mention webern! did you ever play those short cello/piano pieces of his?

@andreaherala6552 7 лет назад

please. prelude of this suite!!!! pleaseeeeee

@olovsjogren9632 2 года назад

My celloteacher tried to show me the world of Bach_cello pieces, and now some years later me and my brothers will

@killersax 3 года назад

Thank you for this interesting discussion. What do you think about the phrasing in Anna Magdalena's MS, particularly the first 4 bars (and also the first three of the B section), where the 2nd, 3rd and 4th eighth notes are slurred but not the first?

@johnmcgurran2084 2 года назад

Thank you for the video musings and master classes for cello. My sheet music has a natural incidental on the A string in the key signature; is that a clue to understanding the scordatura? Also, the first note played (a G) is shown as an open string and the only way to achieve that is to tune down two semi tones. What music are you reading from?

@constantfotiadis6161 4 года назад

metsuyan!❤

@magdamont3121 5 лет назад

Wow! This Sarabande is magic! There is some special tone! I am trying to play it with scordatura on A string but I have some doubts with the written notes on A string. Perhaps I must read the note below that it's written? Thanks, Inbal.

@pianist779 5 лет назад

You finger the written note as usual, but it'll sound a whole step lower.

@magdamont3121 5 лет назад

Thanks for your answer, I,ve discovered it by practising!🎻

@jimrogers7460 5 лет назад

@@pianist779 But doesn't the E flat in bar 3 only sound a half step lower (D). And the A flats, in the first two bars of the 2nd section: they also sound only a half step lower. (G)...? How does that work? What am I missing?

@pianist779 5 лет назад

@@jimrogers7460 no the e flat is still an e flat, since the only string with different tuning is the a string. All notes will sound the same except those played on the a string, which will sound half step lower since your a string is tuned down to a g.

@jimrogers7460 5 лет назад

@@pianist779 Thanks for your response but I remain confused. The first note of bar 3 is a high E. In C minor that is an Eflat. It must be played on the upper (A)string - which has been lowered. The actual sound is D - one half step lower - not one whole step lower which would be expected if the string is lowered one whole step. BTW you wrote one whole step lower two months ago but one half step in your answer to me....typo?

@RockStarOscarStern634 Месяц назад

A 5 string Cello can play this too tuned CGDGD.

@albinjosecello 4 года назад

Can someone please explain why she is doing a left hand pizz(kind of) at times... is that written in the music.. I’ve seen someone else also doing the same.. I have no clue

@LepapouDives 10 месяцев назад

It is used on open stings to help the emission of the Sound, thus enhancing the sound quality of these notes. Also used on double bass.

@asherwade 5 лет назад

Indeed, Bach's Sarabande Suite #5 izz, to say the least, enigmatic; but I've found that in many {maybe 'all'} of his sets ("collections") he tends to toss in an unfathomably cryptic movement [re: 'piece'] which throws me for a loop; for [another] example: the opening Adagio mvt. in Sonata Nr.#3 of the 6 'S-&-P' for violin, or #13 in his 3-part Inventions {or, Sonatas} for piano, or measures 6 through 18 in his Toccata BWV 910 for piano, or (in the B-Minor Mass, Nr. 23 Arie), the mvt. Agus Dei ,or, as I call it "Agmus Nefesh", {;~), which he took from his earlier work the 1735 Ascension Oratorio Lobet G-tt in seinen Reichen, BWV 11, et cetera. ~ Really quirky sounds, but utterly amaΣing music-!!! I really appreciate the advice you gave in regard to "slurs", by beginning with an up-bow, playing the middle 3-notes in one-bow and ending off with an up-bow {but, to begin the next measure on a down-bow - Is that correct-? }. (( I play violin, viola and piano [not a professional level] but for cir. 48 years.)) And, I loved the harmonic double-stop you played at 5:38 to 5:40 - and, from your smile, you did to0.