Sa a Ve tomov – Bach Cello Suites 2020 Hi-Res 24bits – 96.0kHz

Sa a Ve tomov – Bach Cello Suites 2020 Hi-Res 24bits – 96.0kHz

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信息属性
  • 艺术家
  • Sa?a Ve?tomov
  • 发行年份
  • 2020
  • 音乐类型
  • 古典
  • 音质
  • flac lossless / flac 24bits - 96.0kHz +Booklet
  • 歌曲时长
  • 01:39:13
  • 文件大小
  • 466mb/1.67gb
详情介绍

01. Cello Suite No. 1 in G Major, BWV 1007 I. Prélude
02. Cello Suite No. 1 in G Major, BWV 1007 II. Allemande
03. Cello Suite No. 1 in G Major, BWV 1007 III. Courante
04. Cello Suite No. 1 in G Major, BWV 1007 IV. Sarabande
05. Cello Suite No. 1 in G Major, BWV 1007 V & VI. Menuet I & II
06. Cello Suite No. 1 in G Major, BWV 1007 VII. Gigue
07. Cello Suite No. 2 in D Minor, BWV 1008 I. Prélude
08. Cello Suite No. 2 in D Minor, BWV 1008 II. Allemande
09. Cello Suite No. 2 in D Minor, BWV 1008 III. Courante
10. Cello Suite No. 2 in D Minor, BWV 1008 IV. Sarabande
11. Cello Suite No. 2 in D Minor, BWV 1008 V & VI. Menuet I & II
12. Cello Suite No. 2 in D Minor, BWV 1008 VII. Gigue
13. Cello Suite No. 3 in C Major, BWV 1009 I. Prélude
14. Cello Suite No. 3 in C Major, BWV 1009 II. Allemande
15. Cello Suite No. 3 in C Major, BWV 1009 III. Courante
16. Cello Suite No. 3 in C Major, BWV 1009 IV. Sarabande
17. Cello Suite No. 3 in C Major, BWV 1009 V. Bourrée I & II
18. Cello Suite No. 3 in C Major, BWV 1009 VI. Gigue
19. Cello Suite No. 4 in E-Flat Major, BWV 1010 I. Prélude
20. Cello Suite No. 4 in E-Flat Major, BWV 1010 II. Allemande
21. Cello Suite No. 4 in E-Flat Major, BWV 1010 III. Courante
22. Cello Suite No. 4 in E-Flat Major, BWV 1010 IV. Sarabande
23. Cello Suite No. 4 in E-Flat Major, BWV 1010 V & VI. Bourrée I & II
24. Cello Suite No. 4 in E-Flat Major, BWV 1010 VII. Gigue
25. Cello Suite No. 5 in C Minor, BWV 1011 I. Prélude
26. Cello Suite No. 5 in C Minor, BWV 1011 II. Allemande
27. Cello Suite No. 5 in C Minor, BWV 1011 III. Courante
28. Cello Suite No. 5 in C Minor, BWV 1011 IV. Sarabande
29. Cello Suite No. 5 in C Minor, BWV 1011 V & VI. Gavotte I & II
30. Cello Suite No. 5 in C Minor, BWV 1011 VII. Gigue
31. Cello Suite No. 6 in D Major, BWV 1012 I. Prélude
32. Cello Suite No. 6 in D Major, BWV 1012 II. Allemande
33. Cello Suite No. 6 in D Major, BWV 1012 III. Courante
34. Cello Suite No. 6 in D Major, BWV 1012 IV. Sarabande
35. Cello Suite No. 6 in D Major, BWV 1012 V & VI. Gavotte I & II
36. Cello Suite No. 6 in D Major, BWV 1012 VII. Gigue

Recorded in the Organ Hall of the House of Artists (Rudolfinum) from 27 August to 4 September, 1984 Bach could hardly have imagined how popular his cycle of Six Suites for Cello Solo would become nearly 300 years after he finished writing them in Cothen. There are more than 200 existing historical and contemporary recordings of “informed” and “modern” interpretations —that tells it all. The music makes extraordinary demands on players’ technical and interpretive ability and their overall comprehension. In the suites, Bach managed to create music that is highly innovative (it is worth noting that the cello was still developing at the time), and yet he retained his stylistic purity and comprehensibility. While these are formally dance suites, the architecture of some of them is more like that of a cathedral, in part thanks to the wealth of contrapuntal writing. They are a great challenge for everyone who has mastered the cello, Saga Vatomov included. His first teacher was his father (he studied in Paris with Piatigorsky and Fournier and with Casals’s assistant Alexanian). The playing of the young Vatomov was then strongly influenced by Rostropovich’s teacher Semyon Kozolupov at the Moscow Conservatoire and by Andre Navarra in Italy. Besides his solo career, he also excelled at playing chamber music (Czech Trio, City of Prague Quartet) and was an equally wonderful teacher. For the recording of the Bach suites that he made in Prague at the Rudolfinum in the summer of 1984, he prepared himself for several years. In 1980, for example, he played the whole cycle from memory at a single concert.

His recording can be characterised as having unmistakable beauty of tone, perfect intonation, and brilliant technique, but above all it is the deep comprehension of the “text” and the immediacy of the musicianship that make this recording something timeless and exceptional.

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