Performing the Gigue from Bach's Solo Cello Suite III is Michael Caleb Thomas for his Senior Recital Performance at Kennesaw State University. Program Notes for Senior Recital: Johann Sebastian Bach (1685-1750) invites us on a journey into the Third Suite for Solo Cello with the Prelude, following an A-B-A-C form in C Major. His use of scalar and arpeggiated passages set the scene for the entire suite as energetic, sophisticated, and playfully enticing. Bach utilizes the dynamic range of the cello. From the instruments descending scale into the powerful C string in the introduction, to its resounding chords in the climax and conclusion, the music beautifully reverberates from within this wooden frame and out into the souls of the audience. Following the Prelude comes the Allemande; introducing a unique style beginning with three up beat notes, making it the only movement to do so. The use of ornamental sounding 32nd notes gives this movement a bounce to it. Bach incorporates a change in key, moving from C major to the dominant, G major, and later to A minor with a slight pull that has us all longing for resolve. He heightens the attention of the listener with the use of ascending lines and tasteful double stops (playing two strings with differing notes at the same time). The third movement, the Courante (ko͝oˈränt) – (meaning “dance-like”), has a distinct spring to it. This can be heard when the flow of the melodic line changes from a sway feel to an aggressive attitude and graciously back to its original dance like state. Bach’s continual use of brief chordal differentiation between major and minor gives a change in moods conveyed in this movement. Now, we come to the more contemplative of the movements: the Sarabande. This triple meter, slow dance presents a richness and depth, inviting the listener into a soothing presence with its purity of sound. Bach emphasizes the relation between tonal harmony and dissonance, making the briefly agitated listener longing for resolve. Thankfully, he does not disappoint. Before reaching the end of this journey, the fifth movement is comprised of two separate sections put into one, which are the Bourrées (bo͝oˈrā) I & II. This combined movement begins spritely, like the leaves in a wind-filled forest that let loose and fly into the distant fields of tall grass, dancing along without a care in the world. But what follows in the second Bourrée is a dark, chilled presence, modulating into the minor mode. Thankfully, the form repeats, taking the listener back to the fields, as the performer refreshes us with a familiar tune. And finally, the end has come with the vivacious and energetic sixth movement: the Gigue. This lively and aggressive play of building lines captivates the spirits of the listener as the performer alternates through string crossings and modal interchange. Dynamic contrast gives direction to the rise and fall of each melodic line, making this concluding movement of Bach’s Third Suite one to fill the heart with joy.