"Trills in the Bach Cello Suites" by Jerome Carrington

Reading this large-print, double-spaced text on Trills in the Bach Cello Suites left me perplexed for a variety of reasons. First, back when I was still a "modern" cellist, the question of how precisely I was supposed to perform every trill in Bach's solos never really occurred to me, because technical issues and problems of phrasing and expression seemed much more urgent. Second, if or when issues of ornamentation in general arose-controversial in the specific case of the cello suites-my approach was fairly intuitive, along the line of "what works best melodically and/or harmonically within a given aesthetic/stylistic context?" And finally, within this ocean of possibilities for ornamentation options, I would not have isolated the trill and its derivates as a question in itself, but I might have tried to explain for myself why an ornament was suggested in a specific place, to understand its function, and to think of the most effective way to play it in a particular acoustic environment. However, despite its title, the book in fact deals with all ornaments and agrments in Bach's cello suites: trills, mordents, appoggiature, tremblements lis, couls, Nachschlge, turns, and so on

Art · Art history · Cello · Piano · Musicology and Musical Analysis

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