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Suite No 4 in E flat, BWV 1010

Johann Sebastian Bach (b. 1685 - d. 1750)

Composer
Johann Sebastian Bach (b. 1685 - d. 1750)
Composition Year
ca. 1720
Work Movements
1. Prélude
2. Allemande
3. Courante
4. Sarabande
5. Bourées I & II
6. Gigue
Artists
Emmanuelle Bertrand [cello]

Programme Note Writer:
© Norah O' Leary

The Fourth Suite is in the key of E flat, a key associated with power and strength in the Baroque and Classical periods. The bold gestures of the Prélude conform to this idea but present special challenges for the performer, as the key of E flat lies awkwardly on the instrument. The Prélude sounds like an easy-flowing eight-note fantasy but is tricky to enunciate smoothly. It includes a cadenza before returning to the opening motif, with further variants right up to the conclusion.  The Allemande flows smoothly in a serene manner from its confident opening to the closing cadence. The cheerful Italian style Courante is a running and jumping dance reflected here in the staccato phrases. The Sarabande, a thoughtful, calm creation, is reminiscent of the opening progression of the Prélude and its melodic material unfolds not from new gestures, but from ones we have already heard before. The Bourées offer some light hearted contrast, originally a French peasant dance but adopted by the French Court, it is in double time with a dactylic rhythm. The first of the two Bourées is the longest of all the Cello Suites optional dance movements and has a lively, virtuosic character. In contrast, its partner, the second Bourée is conveniently one of the shortest movements in all Baroque instrumental literature. It is unusual in that it has fidelity to the tonic key, not one accidental or hint at chromatic movement wavers outside the key of E flat major. The concluding Gigue of the Suite is the most true to form Italian Gigue of the six suites, a rumbustious dance that would stir even the most arthritic of toes. ??

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Suite No 4 in E flat, BWV 1010

Composer: Johann Sebastian Bach (b. 1685 - d. 1750)
Performance date: Wednesday 3rd July 2019
Venue: St. Brendan's Church, Bantry, Co Cork, Ireland

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Composer Johann Sebastian Bach (b. 1685 - d. 1750)
Work Title Suite No 4 in E flat, BWV 1010
Composition Year ca. 1720
Work Movements 1. Prélude
2. Allemande
3. Courante
4. Sarabande
5. Bourées I & II
6. Gigue
Artist(s) Emmanuelle Bertrand [cello]
Performance Date Wednesday 3rd July 2019
Performance Venue St. Brendan's Church, Bantry, Co Cork, Ireland
Event Coffee Concert
Duration 00:20:12
Recording Engineer Gar Duffy, RTÉ
Instrumentation Category Solo
Instrumentation vc
Programme Note Writer © Norah O' Leary
The Fourth Suite is in the key of E flat, a key associated with power and strength in the Baroque and Classical periods. The bold gestures of the Prélude conform to this idea but present special challenges for the performer, as the key of E flat lies awkwardly on the instrument. The Prélude sounds like an easy-flowing eight-note fantasy but is tricky to enunciate smoothly. It includes a cadenza before returning to the opening motif, with further variants right up to the conclusion.  The Allemande flows smoothly in a serene manner from its confident opening to the closing cadence. The cheerful Italian style Courante is a running and jumping dance reflected here in the staccato phrases. The Sarabande, a thoughtful, calm creation, is reminiscent of the opening progression of the Prélude and its melodic material unfolds not from new gestures, but from ones we have already heard before. The Bourées offer some light hearted contrast, originally a French peasant dance but adopted by the French Court, it is in double time with a dactylic rhythm. The first of the two Bourées is the longest of all the Cello Suites optional dance movements and has a lively, virtuosic character. In contrast, its partner, the second Bourée is conveniently one of the shortest movements in all Baroque instrumental literature. It is unusual in that it has fidelity to the tonic key, not one accidental or hint at chromatic movement wavers outside the key of E flat major. The concluding Gigue of the Suite is the most true to form Italian Gigue of the six suites, a rumbustious dance that would stir even the most arthritic of toes. ??