Abstract
T HE question I propose to examine is whether a performance of absolute music may be called sentimental in any dispassionate, empirical, objective sense. In order to avoid excessive abstraction and to test the generalities, I approach this question by reference to a specific, recorded performance: Pablo Casals playing the Saraband from Johann Sebastian Bach's Second Suite for Unaccompanied Cello, S. 1008. Although we shall examine his performance
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