Ana Vidovic plays from the Sarabande from Cello Suite No. 1 in G Major BWV 1007 by Johann Sebastian Bach (1685-1750). This comes via Siccas Guitars and their great YouTube Channel. Nice expansive tempo and musical expression by Vidovic. Sheet music: I have a free non-editorial edition in two keys available here (scroll down).
Suite info by Keith Anderson via Naxos:
Bach wrote his six Suites for unaccompanied cello at Cöthen, about the year 1720. It is thought that the first four, at least, were written either for Christian Ferdinand Abel, bass viol player at Cöthen, or for Christian Bernhard Linike, more probably the latter. Abel, appointed to Cöthen in 1715 is not known to have been a cellist, while Linike was distinguished rather as a player of the cello and in this capacity had been appointed to the musical establishment of the court in Cöthen in 1716, thus rejoining former colleagues from the Prussian court musical establishment, disbanded in 1713 by Friedrich Wilhelm I on his accession to his father’s throne. Both musicians were friends and colleagues of Bach. The original autograph of the suites is lost and the earliest copy is that made by the Gräfenroda organist and composer Johann Peter Kellner in about 1726. This is followed by that in the hand of Bach’s second wife, Anna Magdalena, made probably in 1727 or 1728 for the Brunswick-Wolfenbüttel chamber musician Georg Heinrich Ludwig Schwanenberger, who had visited Leipzig at the time and taken lessons in thoroughbass from Bach, for whose daughter Regina Johanne he stood as godfather.
Each of the six cello suites opens with a Prélude. Suite No. 1 in G major, BWV 1007, has an introductory movement in which the changing harmonies are made clear in arpeggiated form. The usual Allemande and Courante are followed by a slow Sarabande, with a repeated Menuet II framing a G minor Menuet II. The suite ends, as it should, with a Gigue.