Historical Background: J.S. Bach's Suites for Unaccompanied Cello B.W.V. 1007–1012

Neumann Werner , Bach and His World (London: Thames and Hudson, 1969), 52.

Ibid, 54.

Spitta Philipp , Johann Sebastian Bach (New York: Dover Publications Inc., 1951).

Leopold was born nine years later than Bach in 1694. Geiringer Karl , The Bach Family (New York: Oxford University Press, 1966), 154.

Chiapusso Jan , Bach's World (Bloomington: Indiana University Press, 1968), 143.

Geiringer, 155. They were “drawn from Berlin on the dissolution of the Capelle in 1713.” Terry Charles Sanford , Bach's Orchestra (London: Oxford University Press, 1932), 5.

Terry , 7.

David Hans T. , and Mendel Arthur , The Bach Reader (New York: W. W. Norton & Co., 1945), 122.

Kinney Gordon James , “Musical Literature for Unaccompanied Violoncello,” unpublished dissertation for the Ph.D., Florida State University, 1962, 315. Precise dating of the composition of the Cello Suites has not been possible because a holograph manuscript does not exist.

Upon Bach's return from Hamburg in late November, he set to work on the Brandenburg Concertos. Geiringer, 160.

Chiapusso , 20–21.

Bacon Analee Camp , “The Evolution of the Violoncello as a Solo Instrument,” unpublished dissertation for the Ph.D., Syracuse University, 1961, 153.

Kinney, 151. According to Nicholas Besseraboff, Gabrielli's Ricerari are the “foundation stone” of music written for the cello. Besseraboff Nicholas , Ancient European Instruments (Boston: Harvard University Press, 1941), 310.

Kinney , 153.

von Wasielewski Wilhelm Joseph , The Violoncello and Its History (New York: Da Capo Press, 1969), 68.

Kinney , 157.

As evidenced in the works of Leo and Lanzetti. Bacon, 155, 93; Cowling Elizabeth , The Cello (New York: Charles Scribner's Sons, 1975), 74.

Kinney , 116.

Hamilton Robert , “Changes in the Tone of the Violin Resulting from the Introduction of Some Baroque Fittings,” unpublished dissertation for the D.M.A., University of Iowa, 1979, 2.

Montagu Jeremy , The World of Baroque, and Classical Musical Instruments (New York: Overlook Press, 1979), 20. Apparently a tenor violin was created in the sixteenth century, but it did not survive. Nicholas Bessaraboff, Ancient European Musical Instruments (Boston: Harvard University Press, 1941), 311.

Bonta Stephen , “Terminology for the Bass Violin in Seventeenth-Century Italy,” Journal of the American Musical Instrument Society (1978, IV): 6.

Cowling , 55.

Bessaraboff , 311.

Bonta , 6.

Interview with William Monical, Staten Island, New York, July 16, 1985.

Graves Charles , “The Theoretical and Practical Method for Cello by Michel Corrette,” unpublished dissertation for the Ph.D., Michigan State University, 1972, 2.

Boyden David , The History of Violon Playing from Its Origins to 1761 (London: Oxford University Press, 1967), 195.

Monical , Interview.

Terry , 140.

Ibid., 11.

Interview with Kenneth Slowik, New York, New York, September 18, 1985. The scordatura practice with the top string tuned down from a to g was a common tuning with Gabrielli and Marcello.

Spitta , 68.

David , and Mendel , 277. Quotation of C.P.E, Bach.

David , and Mendel , 238. Quotation of J.A. Scheibe (1737). David and Mendel, 245. C.P.E. Bach asserted that his father was a pioneer in the more regular use of the thumb in keyboard performance.

David , and Mendel , 328, 346. Quotations of Forkel.

David , and Mendel , 346.

Geiringer Karl , Johann Sebastian Bach - The Culmination of an Era (New York: Oxford University Press). 45.

According to Elizabeth Cowling, Francesco Scipriani's (1678-1753) works “are in reality a series of exercises for the cello.” Cowling, 74.

Kinney , 70.

Stopping distance is the distance between pitches on the fingerboard.

Kinney , 411.

These cello methods are presented as appendix material in Charles Douglas Graves, “The Theoretical and Practical Method for Cello by Michel Corrette,” unpublished dissertation for the Ph.D., Michigan State University, 1972.

The Cello Suites were not actually published until the early nineteenth century.

Hosler Bellamy , Changing Aesthetic Views of Instrumental Music in 18th Century Germany, Ann Arbor: UMI Research Press, 1981, ix.

Ibid., 84.