The first proposal is version of Pau Casals, remastered by EMI in 2003, that originated in matrices of 78 rpm of the decade of the 30 offers an acceptable level of background noise. The technical inconsistencies speak of a different recording philosophy of the inhuman pursuit of perfection later. Dynamic variable, changing tempi, ex p ress tragic, dramatic, poetic Casals suites rescued -oblivion, the established or conventional, and established his practice in interpret with consummate authority (maybe) p ruining erations gene or other forms of expression.
rebellious attitude, rude, nervous, a young Du Pre (EMI, 1961), under the aegis of Casals (the sense of rubato, dynamic progressions, and technical errors), the squeaky timbre and sharp, a refined interpretation of a future that never came.
suites recorded twice, in 1979, and 1992 (both published by Sony). That, more daring and challenging , offers the dry tone of a cello and heartless Italian and 169 d 9, that does not help the distant sound pick. Joint pure Baroque, traditional (true , Likes to tell the interpreter itself), the attack is furious, short arc, agitated, without tying notes in staccato , favoring vertical harmony and making the most danceable tune with the beat. Apply vibrato occasionally, as an ornament (in his words, should be imposed as a trill, only at certain times, because it each note would sound Ridi ass). Suzuki (1995), Linden (2004), Mørk (2004) and Isserlis (2 0 07) c or expressive n its dryness, the harsh sense, Lutheran, ringtones resonant weak and solemn, make the domain of influence of this first recording of Bylsma.
This school severe one could oppose Haals velvet school of Rembrandt, in which the horizontal raw melodic lines on the vertical harmonic. Here we include the interpretations of Fournier, Gendron and Queyras. Limits are placed on both the monolithic and the seductive Ma Starker
Fournier (Deutsche Grammophon, 1961) boasts the virtues that accompanied him during his career: Fineness, rich tone color, acaricide i an dynamic soft you, noble control, equ ilibrio cantabile, if somewhat off in minuets. Turns, to the romantic, in the low register of the cello. Elegant in handling the bow, the phrasing, lyrical and rhythmically precise. Uses, such as Casals, his own edition. However, in comparison with the historicist interpretations, it might seem too metronomic and low dynamic contrast. Good sound, clean and clear.
Bach_-_Cello_Suite_1-_Fournier.rar
Queyras (Harmonia Mundi, 2007) might be considered the successor to Fournier by his grace and lightness (understood as the apotheosis of the dance). The ornaments, discreet, fit the legato sound, velvety treble , and full and round at the severe end. Perhaps flat, lacking chang ios dynamics, although natural in subtle rubato. Understand the phrasing of the way of dialogue, re November 'm color to each phrase. The recording quality is impeccable, reflecting the generous acoustics of Cappa cello dated in 1696 but with modern bow and strings.
Bach's legacy of Janos Starker is extensive, no less than recorded five times the Suites, " Playing Bach is the endless pursuit of beauty and truth ." We will choose here the testimony collected by Mercury in 1966: Clarity, do all in their belief in the possession of (their) truth. Technically perfect, with little vibrato, movement frank and determined arc creates a titanic sound, calm, reserved, austere Olympics.
YoYo Ma Young woke na or entire generation to this classic of the recording (Sony, 1983 ). Sing, dance, alternating feet and dynamics. A seductive timbral richness joins a generous use of vibrato that the record resonant blurs slightly. The arch, ligadísimo, dissolving the multiple voices in a single melodic line, also diluted the meaning of counterpoint. His journey in color prelude to the glorious climax so sun is the most openly erotic of all discography.
Ya, you left out the g an Mistislav. But here we are talking about Bach Suites, and not the Suites of Rostropovich. Indeed, the Russian approach is so personal, that seems to gloss over the music: fast, if not rushed (intonation errors abound), lacking contrast, the pause. Forget the musician Rostropovich craftsman and an artist stands, reinterpreting "the issue more difficult Bach when approaching the balance between the feeling (the heart that Bach undoubtedly possessed) and a severe and profound interpretation ... I can not detach my heart of this music ... this is the biggest problem I tenid or recording, find the golden ratio between the roman policy, rhapsodic interpretation of Bach and scholastic aridity. " The softness of her timbre, and dynamic variations in the repetitions fail to forget a sense of monotony, perhaps this has to do with the choice of tempi that sometimes seems entirely consistent with the dances in question. The recording (EMI, 1995) is warm, reverberant emphasized on serious records, at the whim of the rich timbre of the modern cello.
Pieter Wispelwey (Channel Classia cs, 1998) brings to life the prelude through dynamic contrasts monkeys and slight variations in tempo in the stringing of sentences in a kind of echo, call and response (which break!, precious and delicate). If the allemande is quiet and dreamy, facing courante with such enthusiasm that the drumming of the fingerings is sometimes so audible that looks like a percussion added. Focused on the melodic line at the expense of structural harmonic structure in the sarabande , his sense of rubato, pausing, articulation, ornaments, make an excellent Menuett, concluding with a gigue singing, prestísima excellent. Spontaneous reading, as at first sight, provocative in phrasing, is t oma broad freedoms in tempi, expanding the sonic possibilities with a breath of fresh air. Radiant texture cello, 1710 Barak Norman is collected by a sound decision so close that perfumes the entire performance (this may be an obstacle for some listeners).
Paolo Beschi offers a fierce version of rough and beautiful sound, chords and arpeggios replacing grunts. Restrained and aching in the harmony of the sa rabande little courtier in Menuett in its concern counterpoint, the gigue contains a dynamic and timbre really marvelous. Own design, "eccentric? (The prelude 1.49 lasts exactly one minute less than Fournier), pride. The recording and presentation, as usual Winter & Winter (1998) s on lavish, as a book elegantly wrapped in cloth.
Finally, Beschi Wispelwey and intense, both exalted and great timbre.
instrumental works B ach have always been fertile ground for adaptation, especially
questions flourish when Bach's music sounds. Given the tremendous variety of interpretations on disk, not surprisingly, there is little agreement in the responses, which probably means that there is a (single) correct answer.
