![]() Over the decades that I’ve been playing the Suites, I have never ceased to be awed by their difficulty and mystery, and the out-of-body experience of being part of the messenger of the music and not its creator. Much can be learned in grappling with where to breathe, and which double- and triple-stop notes to play, by analyzing the lines and harmonies implied in the original key’s 'cello parts. The chords Bach chose-for emphasis or added colors-are among the most interesting facets of these pieces, and we do a great disservice to them if we play from only a melodic, horn-based viewpoint. The biggest challenge for French horn players working on the Bach ‘Cello Suites is that we are using a melodic, one-note-at-a-time instrument. Bach (BWV 1007-1012), horn players the world over have been drawn to the allure of making this music our own. “Ever since the mid-20th century, when Wendell Hoss transcribed for horn the legendary Suites for ‘Cello Solo by J.S. ![]() In Katzen's own words, excerpted from the Bach ‘Cello Suites CD liner notes:
0 Comments
Leave a Reply. |