The Cello Suites - Reading Together - Suite No. 2

Welcome to the second post discussing The Cello Suites by Eric Siblin. I found it interesting how Siblin contrasts the "sunshine" of the First Suite with the "shadows" of the Second, and that he suggests that the D minor key of Suite No. 2 acts as a musical tomb for Bach's first wife, Maria Barbara.

Another point that I found intriguing was that by writing these suites, Bach was essentially a pioneer, treating the cello like a "baritone master" capable of carrying a melody and a harmony simultaneously. This "elevation" of the instrument mirrors Casals’ own lifelong mission to prove the cello’s worth to the world.

If you want to dive deeper into Suite No. 2 with your students, here are some resources to do that.

- The Historical "Tobacco-Colored" Sound: Pablo Casals: Siblin focuses heavily on the "aura" of this specific recording. It sounds "crackly" and old, which adds to the sense of historical mystery. Play the Sarabande. Ask students to describe the "weight" of the sound. Does it sound like someone mourning? Compare this to a modern, cleaner version to discuss how technology and time change our perception of art.
- Comparing the "Second Hand" Manuscript: IMSLP: This is the primary source Siblin mentions. Since Bach’s original is lost, this copy by his wife is the closest we have. Show the PDF on the board. Point out the lack of "road signs"—there are no instructions for how fast or loud to play. Ask students: "If you were the cellist, how would you know where the 'sad' parts are if the author didn't tell you?"
- Yo-Yo Ma: "We live in a time that feels fractured, and Bach is a unifying factor": Yo-Yo Ma explains the physical demands of the suites and how Bach treated the cello as a "multi-voiced" instrument.
- The "Benjamin Zander" Interpretive Masterclass: Ben Zander is a world-renowned conductor known for his "TED-talk style" breakdowns of music. In this video lesson, he explains the "architecture" of the D Minor Prelude.
- "Fugue for Thought" Narrative Guide: This blog provides a "layman’s" narrative of the entire suite. It avoids overly dense jargon and uses evocative language like "stormy," "melancholy," and "shadowy." Have students read the description of the Courante (the "angry, stormier affair"). Ask students to find three adjectives the author uses to describe the music and compare them to the adjectives Siblin uses in Chapter 2.

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