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The six Cello Suites, BWV 1007–1012, are suites for unaccompanied cello by Johann Sebastian Bach (1685–1750). They are some of the most frequently performed solo compositions ever written for cello. Bach most likely composed them during the period 1717–1723, when he served as Kapellmeister in Köthen.
Cello Concerto No. 4 in C major, G. 481; Cello Concerto No. 5 in E-flat major, G. 474; Cello Concerto No. 6 in A major, G 475; Cello Concerto No. 7 in D major, G. 476; Cello Concerto No. 8 in D major, G. 478; Cello Concerto No. 9 in B-flat major, G. 482; Cello Concerto in B-flat major (arr. F. Grutzmacher) Cello Concerto No. 10 in D major, G ...
The minuet in G major by Christian Petzold is commonly attributed to Johann Sebastian Bach, although the piece was identified in the 1970s as a movement from a harpsichord suite by Petzold. The misconception stems from Notebook for Anna Magdalena Bach, a book of sheet music by various composers (mostly Bach) in which the minuet is found. [191]
Johann Sebastian Bach. Cello Suites, BWV 1007–1012 (c. 1720) Nicolas Bacri. Suite, Op. 31; Suite, Op. 50, No. 4 (1994–96; written for Emmanuelle Bertrand) Henk Badings. Sonata No. 2; David N. Baker. Sonata (1990) Don Banks. Sequence (1967) Gennady Banshchikov. Concerto for cello No. 3 for solo cello (1965) Granville Bantock. Sonata in G ...
BWV 1027 – Sonata No. 1 in G major for viola da gamba and harpsichord (arrangement of BWV 1039) BWV 1027a – Trio in G major for organ (arrangement of movement 4 from BWV 1027) BWV 1028 – Sonata No. 2 in D major for viola da gamba and harpsichord; BWV 1029 – Sonata No. 3 in G minor for viola da gamba and harpsichord
Twelve Variations for cello & piano in F major on Mozart's "Ein Mädchen oder Weibchen," Op. 66 (1796) Twelve Variations for cello & piano in G major on Handel's "See, the Conqu'ring Hero comes," WoO 45 (1796) Seven Variations for cello & piano in E flat major on Mozart's "Bei Männern," WoO 46 (1801) Karol Beffa "Marmor" for cello and piano
It was commissioned and premiered and recorded [1] by Julia Maclaine, a Canadian cellist, an assistant Principal Cello of the National Arts Centre Orchestra. [2] MacLaine found the inspiration for this project in a Juilliard recital by American cellist Bonnie Hampton [ 3 ] in which the Preludes from Bach ’s Solo Cello Suites were interspersed ...
One of the last pieces he entered, likely around the time when moving to Bitterfeld (1735–1736), was a Suite by Petzold containing, together with eight other movements, the G major/G minor combined Minuet, otherwise only known as Nos. 4 and 5 of Anna Magdalena Bach's second notebook.