Bach Suite 4 - Allemande

I confess that I do not know a whole lot about Barouque dance forms. When I have looked for information about them I tend to find vague ideas about strong and weak beats along with a general observation about style. There is usually a caveat that by the time Bach was composing, these forms had been so greatly embellished and expanded upon that it is unlikely they were intended to accompany actual dancing. While the dances in Bach’s Cello Suites bear little resemblance to their 16th-century ancestors, they do each have a distinct character. One of the most challenging aspects of playing (and teaching) these pieces is to identify what gives each dance its character, and then to bring that character out in performance.

Over the years I have found it useful to sort the dance movements of the Cello Suites into two basic groups. The first are dances that sound like they are meant for people in wigs and fancy dresses in a fancy house, and the second are dances that sound like they are meant for an outdoor fair around the table where the beer is served. The allemandes tend to fall in the first category, and to my ear they tend to be the “fanciest” of the dances in the Cello Suites.