"It makes much sense to practice very slowly and to find out about, you know, what you really want to say." Jens Peter Maintz
The class is divided into two parts, taking into account that the student plays two movements
from Bach's Suite 3 for solo cello: the third - the Courante, and the fourth - Sarabande. In both
moments, the master praises the student, telling him that he achieves a very good performance.
He speaks in favor of The Courante being fast, “I like the fast tempos”, thinking about the
contrast that there must be between the Allemande and this movement: “the Courante is as you
do it, it's running, it's jumping”.
Part of the class is about the master and the student defining the structure of the pieces: “We
have to stop before taking a breath and starting something new”. As a possible exercise, he
suggests studying it extremely slowly, in order to understand the structure: “Especially
when you are very talented as a virtuoso player, as you are, certainly... It makes much sense to
practice very slowly and to find out about, you know, what you want to say”.
When listening to the Sarabande, the master makes an appreciation that is quite logical: “That too often you still play a little bit too much in a singing style and not in a dancing style”. It is
necessary to remember that the Suite is a set of prelude plus dances, so this has to be kept in
mind when the cellist is playing one of them.
- There should be a contrast between the movements of the Suite
- Longer bows sometimes are better than shorter bows, because it´s not too much information
- The legato is used to connect the smaller intervals
- Playing it slowly helps to know what one wants to say
- Around the balanced point of the bow, we can control the articulation
- In order to have the freshness of this character (on the Courante), one needs to use his
- When doing embellishments, they do not have to be too fast: the listener has to be able to
- Sometimes, middle voices say something extremely important.