The Great Debate About Bach’s 2nd Cello Suite (ft. Matt Haimovitz)

Master cellist and famed Bach interpreter Matt Haimovitz takes us in depth through the stormy and dramatic D-minor suite of J.S. Bach. In this feature, Haimovitz discusses the unusual chorale-like ending of this work and how to approach this in terms of ornamentation and breaking the chords.
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[@user-cd2rb8xh1v]

It's amazing how much there is to unpack and discuss about just 5 chords! I've tried various ways of filling in the 5 chords but I agree, none of them are really satisfactory and the bare simplicity of the chords and ending on a single note must really be what Bach had in mind

[@gasparocelloman9852]

Interesting video. Great sound! Perhaps another option is to bow the chords out. The classic theory of baroque harmonic hierarchy would suggest executing the final 5 chords in two groups + 1: strong-weak (crescendo?), strongest-weak(diminuendo), & then weakest (resolution). Bowing these bars as they come would best facilitate this, especially with a b’que bow. Otherwise there’s a risk of the harmonic flow of the final phrase being fragmented and all of the chords having equal weight and articulation, physically and rhetorically.

[@mrssibelius]

Good to hear I'm not the only person to like ending the Prelude so hymn- ir even prayerlike.

[@kurtkaufman]

I like to bow the chords as they come, with the initial chord faster than indicated, the following chords (all slightly broken) gradually slowing back to tempo, and then the final chord much slower and almost as three separate notes. (Just one more way to play this fabulous piece.)

[@AlamoCityCello]

Matt is a great musician. I’ve been a fan of his playing for many years.

[@andrewsnow1933]

Love that gofriller. Bravo

[@lS-je3ud]

Could you make another video explaining the "debate", rather than only saying there is one, which will at least separate you from so many videos with click-bait titles? Expounding upon the lead-up to the portion, I think, would definitely allow room for an examination of the so-called "merits" of each of options which could be preferred; and why.

[@jonathanhunt5618]

Hooray! I've always thought that the chords should be played as chords, and not used as a basis for improvisation. Why weaken such a dramatic contrast to the perpetual wandering of the rest of the Prelude?
I'm intrigued by your calling the final five chorda a chorale and would love to hear more about the idea of an embedded hidden chorale in the main section of the movement.

[@user-wc9gq5cw3v]

I've seen a lot of professionals use alternate up bows and down bows in the last chords. I am in my second year and have learnt this piece. (To be perfected... forever.) :) If there is any reason up bows are not a choice you enjoy, please leave a counter-comment~ ;)

[@DavidMarteinson]

These chords evoke an organ to me which feels right (unless you have a bit of inadvertent bow vibrato happening)

[@matthewgroters6270]

DUDE. Fastest retakes in the west LOL

[@NeonMyloXyloto]

its how yo yo ma plays it :)

[@0-mega216]

I thought we were supposed to arpeggiate these chords 😭😭😭

[@aetheriality5680]

That's an entirely valid interpretation! We honestly do not know whether Bach intended them to be arpeggiated but even then it sounds nice regardless :3

[@MrAkifusion]

LAME.

[@aidenbielefeld5005]

What's wrong with you man

[@gabrielpssoa]

@@aidenbielefeld5005​​⁠probably someone who deserves playing a Goffriller more than mr Haimovitz (irony)