
Wydawnictwo: Pentatone
Nr katalogowy: PTC 5187204
Nośnik: 1 CD
Data wydania: kwiecień 2024
EAN: 8717306262040
Nr katalogowy: PTC 5187204
Nośnik: 1 CD
Data wydania: kwiecień 2024
EAN: 8717306262040
Nasze kategorie wyszukiwania
Epoka muzyczna: barok, współczesna
Obszar (język): niemiecki, fiński
Instrumenty: wiolonczela
Rodzaj: suita
Epoka muzyczna: barok, współczesna
Obszar (język): niemiecki, fiński
Instrumenty: wiolonczela
Rodzaj: suita
Lilja / Bach: Six Shades of Bach
Pentatone - PTC 5187204
Wykonawcy
Max Lilja, cello
Max Lilja, cello
Utwory na płycie:
1 Six Shades of Bach - I Prélude .mp3
2 Six Shades of Bach - II Allemande .mp3
3 Six Shades of Bach - III Courante.mp3
4 Six Shades of Bach - IV Sarabande.mp3
5 Six Shades of Bach - VI Gigue .mp3
6 Six Shades of Bach - I Prelude.mp3
7 Six Shades of Bach - II Allemande.mp3
8 Six Shades of Bach - III Courante.mp3
9 Six Shades of Bach - IV Sarabande.mp3
10 Six Shades of Bach - VI Gigue.mp3
11 Six Shades of Bach - I Prélude.mp3
12 Six Shades of Bach - II Allemande.mp3
13 Six Shades of Bach - III Courante.mp3
14 Six Shades of Bach - IV Sarabande.mp3
15 Six Shades of Bach - VI Gigue.mp3
16 Six Shades of Bach - I Prélude.mp3
17 Six Shades of Bach - II Allemande.mp3
18 Six Shades of Bach - III Courante.mp3
19 Six Shades of Bach - IV Sarabande.mp3
20 Six Shades of Bach - VI Gigue.mp3
21 Six Shades of Bach - I Prélude.mp3
22 Six Shades of Bach - II Allemande.mp3
23 Six Shades of Bach - III Courante.mp3
24 Six Shades of Bach - IV Sarabande.mp3
25 Six Shades of Bach - VI Gigue.mp3
26 Six Shades of Bach - I Prélude.mp3
27 Six Shades of Bach - II Allemande.mp3
28 Six Shades of Bach - III Courante.mp3
29 Six Shades of Bach - IV Sarabande.mp3
30 Six Shades of Bach - VI Gigue.mp3
Max Lilja (afer Johann Sebastian Bach):
Suite 1, Köthen (After J.S. Bach’s BWV 1007)
Suite 2, Maria (After J.S. Bach’s BWV 1008)
Suite 3, Anna Magdalena (After J.S. Bach’s BWV 1009)
Suite 4, Leipzig (After J.S. Bach's BWV 1010)
Suite 5, Death (After J.S. Bach's BWV 1011)
Suite 6, Eternity (After J.S. Bach's BWV 1012)
Suite 1, Köthen (After J.S. Bach’s BWV 1007)
Suite 2, Maria (After J.S. Bach’s BWV 1008)
Suite 3, Anna Magdalena (After J.S. Bach’s BWV 1009)
Suite 4, Leipzig (After J.S. Bach's BWV 1010)
Suite 5, Death (After J.S. Bach's BWV 1011)
Suite 6, Eternity (After J.S. Bach's BWV 1012)
Finnish cellist Max Lilja, one of the founders of Apocalyptica, takes us on an immersive journey across Johann Sebastian Bach’s life; through merging the iconic Cello Suites with an ambient composition, Lilja enlightens the space around the solitary voice.
To emphasise the continuous transcendence of a life, Lilja builds a solid sense of identity for each suite. The cello is embraced by the sonic world like an individual by the universe. Lilja’s playing has influences from the span of 300 years of existence of the suites, evolving from the simplicity of the 1st suite to almost Romantic in the 6th. His interpretation is inspired by Bach’s rhythmical ideas that expand suite by suite and, as life throughout the years, become more complex and multilayered.
After years of pioneering cello artistry in rock and electronic music, as well as composing for various projects, Lilja returns to his classical roots. With Six Shades of Bach, he presents a first of a kind crossover work, contributing to dialogues about the cello suites and survival of classical music.
To emphasise the continuous transcendence of a life, Lilja builds a solid sense of identity for each suite. The cello is embraced by the sonic world like an individual by the universe. Lilja’s playing has influences from the span of 300 years of existence of the suites, evolving from the simplicity of the 1st suite to almost Romantic in the 6th. His interpretation is inspired by Bach’s rhythmical ideas that expand suite by suite and, as life throughout the years, become more complex and multilayered.
After years of pioneering cello artistry in rock and electronic music, as well as composing for various projects, Lilja returns to his classical roots. With Six Shades of Bach, he presents a first of a kind crossover work, contributing to dialogues about the cello suites and survival of classical music.