Always a very interesting object of study, due to the absence of the original manuscript or/and due to "their harmonious beauty and ingenious counterpoint setting" , Bach's six Suites for Cello (read viola) never cease to boggle our minds and uplift our spirits.
Recently, I only studied the third suite and found some irregularities of 'shape' and arrangement: somethimes a theme is bowed, later the same theme is detache; somethimes a single note is displaced -whether for logical musical reasons (resolving some of the inconsistancies of the different handwritings) or by misprint - is not always clear to me.
I find Franz Schmidtner's (violist of the Radelow Quartet) approach
sincere and often deeply conscientious, but not always consistant.
|
