World-renowned cellist Wade Davis presents the J.S. Bach Cello Suites. A regular performer with the Washington Bach Consort, the Folger Consort, Cathedral Choral Society, and co-founder of baroque ensemble, S’amusant, cellist Wade Davis is noted for his engaging, high-energy performances of these pieces, among J.S. Bach’s most popular, and celebrated works.
Program
Unaccompanied Suite for Cello No. 1 in G Major, BWV 1007
Johann Sebastian Bach
(1685-1750)
11 Capricci for Cello
Capriccio No. 8 in G Major
Capriccio No. 1 in C minor
Joseph Dall’Abaco
(1710-1805)
Unaccompanied Suite for Cello No. 3 in C Major, BWV 1009
Johann Sebastian Bach
(1685-1750)
Program Notes
How do I begin to talk about the “Bach cello suites?” You’re told as a young cellist that they are the Mount Everest; the holy grail of cello repertoire. But there’s hardly any context around them because there is not much Baroque music studied at the highest levels of that kind of training. When my sixth grade strings teacher (a jazz bassist) gave me the music because he was shocked that I didn’t know them, I remember being so fascinated with it at school that day, and going home later that night and just playing through as much as I could I realized this music was something big, but I didn’t understand how big just yet. And I would say after about 35 years I’m just starting to.
The Suite No. 1 in G Major is one of the most recognized pieces of music. The prelude to this suite has been featured in car commercials, television shows, movies and it seems to have a grasp on anyone who hears it. The way it’s played in such a grand manner is certainly not the way I think Bach would’ve intended it. To me, it seems to be a warm-up, sort of; a way of tuning the instrument in public. What follows is a series of stylized versions of court dances from various countries. Because this music wasn’t actually intended for dancing, my interpretation is quite different from most who would stay mainly on the beat and right in time. And that is a different way of thinking than I previously had about 10 years ago when I just wanted to play this music extremely fast as a reaction to some overly romantic interpretations. Perhaps those guys were onto something!! I think of the entire suite as a sort of exploration of the cello in the key of G major. Its sunny disposition lends itself to the brightness and open resonance of the instrument. For me, it’s always a joy to play. Suite No. 3 in C major engages both majesty and intimacy in its scale. I’ll have more to say about it from the stage.
I have found that each suite is essentially a distillation of the very key it’s written in. Every mood of these social dances (or abstractions thereof) is dictated by the key. And sometimes the music can be so incredibly cerebral, which is the special thing about these suites. The way the music hangs in the air allows for the audience to put it together in their own very personal way, and I do believe that is why so many people have such deep admiration for this music.
I wanted to add two short pieces in the same keys as the suites to contrast the music just a bit and Joseph Dall’Abaco’s 11 Capricci for Cello are just the right fit. As glorious as the cello suites are, it’s nice to understand why they are so monumental. And this is not to say that the Capriccios are any less wonderful; they are just different. And to allow the brain to absorb something different in the middle of a program that could be considered monotonous is a gift for not only the audience, but the performer too. My journey with this music will be lifelong, and I’m thrilled that all of you will be part of my journey.
