Bach's cello suites transcription and interpretation for baritone saxophone

Bach’s Suites for unaccompanied cello are a masterpiece of the Classical Western canon for their singularity and their creator’s mastery. A myriad of transcriptions were made throughout the centuries with bigger or lesser freedom. This thesis aims at revealing insights from the art of linear polyphony and its performance on a monophonic instrument such as the baritone saxophone. The study of the musical structure is supported by examples from the visual domain that help us to understand the notion of linear polyphony as a third-dimension object. The particularity of this study, in relation to the multiple existing literature about Bach’s music, is its focus on a wind player’s point of view, a saxophonist, which, given the restriction of the polyphonic possibilities of the instrument, reveals some discerning solutions on the performance, analysis and elaboration of the polyphonic thinking in Bach’s Suites. Similar to the relative novelty of the cello at Bach’s time, my work aims at giving as close as possible the same perspective of the music through a new vision and instrument. I analysed the art of linear polyphony and the techniques of elaboration of the melody in the Cello Suites, notably as a means to support the interpretation (e.g. articulation, phrasing, dynamics, vibrato, fingerings, etc.) and to devise a transcription of the Suites for the baritone saxophone. My choice felled on a transcription for baritone saxophone based on the manuscript from Anna Magdalena Bach, wishing to provide detailed guidelines for saxophonists who want to create a more informed interpretation. I hope to offer a better understanding of these works and to provide a reference to build and develop an individual interpretation, especially on the baritone saxophone.

O corpo entre concertos e consertos: um estudo sobre a dança tribal

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Ernst von Gizycki, Hüftbild, mit Cello

Signatur des Originals: S 36/F04156

May Henrietta Mukle, Ganzfigurbildnis, mit Cello

Original eigenhändig signiert

Occurrence of Cello-Oligosaccharides in the Apoplast of Auxin-Treated Pea Stems

Treatment of pea (Pisum sativum L.) hypocotyl segments with indole-3-butyric acid, which promotes segment elongation, increased the solubilization of both xyloglucan and cello-oligosaccharides in the apoplast of auxin-treated pea stems. The cello-oligosaccharides were isolated from the apoplastic solution with a charcoal/Celite column and were identified as cellobiose, cellotriose, and cellotetraose after subsequent thin-layer chromatography and paper electrophoresis. Cello-oligosaccharides in the apoplastic fraction were monitored using cellobiose dehydrogenase. Both xyloglucan and cello-oligosaccharides appeared to be formed concurrently within 30 min after treatment with the auxin, and the cello-oligosaccharides increased with stem elongation even after 2 h. The total activity of cellulase did not increase for up to 4 h.

Concertos for the pianoforte, op. 25 [and] op. 40 /

v. 1. Op. 25.--v. 2. Op. 40.

Acht Stücke für Klarinette, Bratsche und Klavier, oder Violine, Violoncello und Klavier. Eight pieces for clarinet, viola and piano, or violin, cello and piano. Op. 83.

Includes alternative parts for violin and violoncello.

Concertos for the piano. [music] /

For 2 pianos.

Trio no. 2, C minor for piano, violin and cello, op. 66. [music] /

Mode of access: Internet.

Concertos for the piano, op. 25 [and] op. 40. [music] /

Cover title: Concerto in D minor for the piano.

Trio, no. 1, D minor, for piano, violin, and cello, Op. 49. [music] /

Title page varies.

12 Organ concertos. [music] /

Original works composed in 1738 and 1740.