0:00 Opening music: The G major sarabande, BWV 1007. All manuscript examples of Bach’s sarabandes for cello, unless otherwise indicated, are from the source in Anna Magdalena’s hand.
0:22 The dancing feet of Paige Whitley-Bauguess.
0:33 Sarabande de M. Beauchamp
provided by University of Salzburg, Derra de Moroda Dance Archives, DdM 797
0:37 Tomlinson, Kellom. The art of dancing explained by reading and figures, p. 98.
0:44 Some of the notes left out include notes that I would stress in performance, for instance the important ‘F#’ harmony note. I chose the ‘A’ since it made the nicest melody on its own.
3:10 Dupont, Pierre. Principes de violon par demandes et par réponce (1740), p. 6.
3:33 We can see the shift from the playing of chords on the beat to beginning them before the beat such that the emphasis is with the upper voices in Friedrich Grützmacher’s 1866 edition of the suites, “revised and arranged for performance.”
Grützmacher’s second more conservative edition also shows this interpretation of the chord begun before the beat, though not as prevalently. His intentions in his own words, were to “notate all
the indications and nuances necessary, down to the smallest detail” that the composer himself did not do. Zoltán Szabó. (2016)., Problematic Sources, Problematic Transmission: An Outline of the Edition History of the Solo Cello Suites by J. S. Bach, University of Sydney, pp. 23-216.
4:58 See introductory notes on early French practice of retaking in order to have a down bow at the beginning of the bar and phrase.