Cellist enlivens Bach with ease
The final concert of the 2012 Northwest Bach Festival on Sunday featured world renowned cellist Zuill Bailey performing three of J.S. Bach’s Suites for Solo Cello.
The six suites were written when Bach was in the employ of Prince Leopold of Cothen. This was an extremely prolific time for Bach; he also composed the violin sonatas and partitas, Brandenburg Concertos, Book 1 of “The Well-Tempered Clavier” and numerous other instrumental works.
In the stained-glass- tinted light of the Cathedral of St. John the Evangelist, Bailey began the concert with Suite No. 1 in G Major BWV 1007, quite possibly the most famous piece of music written for cello.
Bailey’s seemingly effortless technique made Bach’s music dance, sing and fill the air with joy. Every movement had a unique voice, and each time a section of dance movement was repeated there was something new and different to hear.
After playing this suite straight through, Bailey explained how he believed Bach created this set of six suites. He believes Bach himself was “learning how to write for solo cello as he went along, each suite getting more technically complicated.”
He also shared, with great candor, “It might look easy to play the music, but inside I’m bleeding out.” With delightful wit and instant rapport, the audience came to know in detail each movement of Suite No. 2 in D Minor BWV 1008.
“The Prelude to each suite is like a foyer to a house – it sets the mood for the entire work,” Bailey said.
He reminded the audience why Prelude to Suite No. 1 is so familiar and popular: It has been used in television commercials and films many times.
Bailey then invited the audience to sing the first few words of “Ave Maria” by Charles Gounod, based on Bach’s Prelude in C from Book 1 of “The Well-Tempered Clavier.” While the audience sang, he played the opening measures of the cello Prelude, which fit the melody perfectly.
“There is no one correct way to perform these suites; no autograph manuscript in Bach’s own hand exists,” he said.
Each performer must approach each movement with his or her own tempo, sensibility, musicianship and spirit for the music. Bailey credited the legendary Pablo Casals with making the suites “our cellistic bible. Just as with scripture, there are many interpretations possible.”
After intermission, Bailey concluded the concert with Suite No. 3 in C Major BWV 1009, with no break for discussion. The audience was in a position to listen more intently through the entire work, with newfound understanding, imagination and feeling for Bach’s unfathomable creative genius.
Bailey received a well-deserved and prolonged standing ovation, then he graciously visited with audience members and signed CDs of his performances. He also encouraged young musicians who stood in line to meet him to continue their practice and love for music.
A more fitting final concert to this year’s splendid series could hardly be imagined.