wh0060 

Wydawnictwo: Wigmore Hall
Nr katalogowy: WH 0060
Nośnik: 2 CD
Data wydania: październik 2013
EAN: 5065000924621
Dostępność: w magazynie

67,00 zł
Zamów WH 0060
Zamów

Nasze kategorie wyszukiwania

Epoka muzyczna: barok
Obszar (język): niemiecki
Instrumenty: wiolonczela
Rodzaj: suita

Zobacz także:

  • SIGCD 488
  • SIGCD 435
  • AN 28771
  • GEN 17462
  • CDA 68143
  • HC 16027

Bach: Cello Suites Nos. 1-6, BWV1007-1012

Wigmore Hall - WH 0060
Wykonawcy
Colin Carr, cello
Nagrody i rekomendacje
 
Gramophone Editor's Choice
 
Utwory na płycie:
Cello Suite No. 1 in G major BWV1007
Cello Suite No. 3 in C major BWV1009
Cello Suite No. 5 in C minor BWV1011
Cello Suite No. 2 in D minor BWV1008
Cello Suite No. 4 in E major BWV1010
Cello Suite No. 6 in D major BWV1012
Performing regularly throughout the world as a soloist, chamber musician, recording artist and teacher, British cellist Colin Carr is a frequent guest at the world’s leading concert halls and festivals. He counts Maurice Gendron and William Pleeth amongst his teachers. In May 2012 he retruned to Wigmore Hall to record Bach’s cello suites, true masterworks regarded as the pinnacle of the repertoire for the instrument. Demonstrating his great technical prowess and mastery, Carr searched deep beneath the richly detailed surface of the six suites and explored their inner workings with great style. His meditative performance and profoundly personal communion with the works of Bach are captured within this recording.

"I have played these pieces for decades; there is no music with which I am more familiar. It may sound like a cliché but every time I come back to them they are different. The other day I played them in London for a recording. At the end of the session we decided it would be worth playing the C minor suite through again and the Allemande was 35 seconds faster than the previous time. Nothing had been discussed and I had not listened to the previous one and made an adjustment. It was a spontaneous thing for better or worse; at the moment it felt better. But imagine that, a movement of four to five minutes being 35 seconds faster. I was delighted. If I have the misfortune to have to listen to performances from long ago I don't recognize myself. The challenge always is to prepare everything meticulously and then to be a thoroughly clean vessel through which the music can flow, as it needs to at that moment, not knowing how it will emerge. Always paradox!" Colin Carr