Cello Suites BWV 1007-1012 for Cello Solo (Transcribed for Viola) Cover Image

Cello Suites BWV 1007-1012 for Cello Solo (Transcribed for Viola): Viola (Solo)

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Cello Suites BWV 1007-1012 for Cello Solo (Transcribed for Viola) Cover Image
Cello Suites BWV 1007-1012 for Cello Solo (Transcribed for Viola): Viola (Solo)

Cello Suites BWV 1007-1012 for Cello Solo (Transcribed for Viola): Viola (Solo)

By Johann Sebastian Bach / arr. Simon Rowland Jones

Item: 98-EP7489
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J.S. Bach's great set of 6 Cello Suites are here presented in a beautifully-realized and idiomatic arrangement for solo viola by Simon Rowland-Jones.

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Additional Details
Series: Edition Peters
Publisher: Edition Peters
Page Count: 92
ISBN13: 979-0-300-75762-9
UPC: 9790300757629
SKU: 98-EP7489

More about this title

About the Composer: Johann Sebastian Bach

Johann Sebastian Bach (1685, 1750) wrote the six Cello Suites during his time at Köthen, creating one of the cornerstones of solo string literature. Each suite follows the Baroque dance-suite model, opening with a prelude followed by allemande, courante, sarabande, and gigue, with additional movements in some suites. Bach's contrapuntal mastery and harmonic sophistication transformed what might have been pedagogical exercises into profound explorations of the instrument's expressive range.

These suites have long transcended their original context. Arranged for viola, they gain new color and warmth while remaining fully idiomatic to the instrument. The transpositions and voicings in this Rowland-Jones edition preserve Bach's architectural logic while acknowledging the viola's particular voice, making these works freshly accessible to a generation of violists seeking substantial solo repertoire.

Why we love this

Rowland-Jones has given violists something genuine here: not a mechanical transposition but a thoughtful reimagining that honors both the source material and the instrument. These suites offer the kind of serious solo work that builds confidence and musical maturity, and they program beautifully in recitals where string soloists need substantial, canonical repertoire.

What to expect

Entering the architectural world of Bach's counterpoint. The opening preludes unfold like mathematical proofs that happen to be beautiful; the dances move with courtly dignity and hidden complexity. In the viola's warmer range, these suites feel introspective and searching, less virtuosic than the cello originals but somehow more intimate.

Who it's for

Violists with solid technique who are ready for the demands of solo Bach. These suites suit anyone preparing for auditions, recitals, or simply wanting to deepen their relationship with foundational repertoire. They work equally well for advanced high school students and seasoned professionals.

How to get the most out of it

  • Let the opening prelude of each suite breathe. These aren't technically demanding passages; they're architecturally significant. Shape them with clarity and allow silence to do its work.
  • Pay attention to the voicing decisions in double stops and chords. Rowland-Jones has placed them to sit naturally on the viola, so voice the inner lines with as much care as the melody.
  • Approach the dances (allemande, courante, sarabande) with period-informed articulation and phrasing rather than romantic smoothness. The clarity will make the harmonic progressions sing.
  • Record yourself. These suites reveal inconsistencies in tempo, phrasing, and character that are invisible in the moment but obvious when heard back.

How to use it

A complete suite or even a single multi-movement selection anchors a recital with substance and gravitas. These also work in chamber contexts as solo showpieces within a program that includes ensemble works, giving the viola its moment of undivided attention.

Skills your students will build

  • Baroque phrasing and articulation
  • Double-stop technique and voicing clarity
  • Reading and executing figured bass harmonies
  • Sustained intonation in slow movements
  • Navigating multiple keys and transpositions
  • Building structural awareness through multi-movement forms

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