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Mayke Rademakers: J.S.Bach: The Cello Suites [3CD]

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Muzyka Barokowa
premiera polska:
2015-12-18,
Wydawnicto Audiofilskie

kontynent: Europa
kraj: Holandia
opakowanie: Jewelcaseowe etui
opis:

multikulti.com; 2016-01:
"Powszechnie uważa się, że "Sześć suit na wiolonczelę solo" Jana Sebastiana Bacha jest odpowiednikiem "Sonat i partit na skrzypce solo", jednego z najgenialniejszych dzieł tego kompozytora i jednej z najwybitniejszych kompozycji na solowy instrument smyczkowy w historii muzyki. Jednak nie mamy całkowitej pewności co do chronologii powstania tych kompozycji - w przeciwieństwie do "Sonat i partit" nie przetrwał bowiem oryginalny manuskrypt Bacha utworów na wiolonczelę solo. Przyjmuje się jednak, że suity wiolonczelowe powstały w latach 1712-1713, czyli poprzedzają skrzypcowe sonaty o dobre siedem-osiem lat (utwory na skrzypce solo powstały w 1720 roku). Jeżeli tak, to nie należało by ich postrzegać nie jako odpowiednik, a raczej widzieć w nich źródło.

Wiadomo, że nie były znane szerzej przed 1900 rokiem, ale na dobre upowszechnił je dopiero wielki wiolonczelista Pablo Casals. On to, gdy miał trzynaście lat, odkrył w Barcelonie, w sklepie z używanymi książkami, jedyne wczesne wydanie tych suit i od tego czasu te kompozycje stały się jego prawdziwą obsesją. Chociaż wykonywał je wielokrotnie na koncertach w różnych okresach swojej twórczości, nie zgodził się ich nagrać aż do 1936 roku (miał wtedy 60 lat). Był on też pierwszym muzykiem, który nagrał całość (do roku 1939). Jego nagranie suit wiolonczelowych w dalszym ciągu jest niezwykle cenione i jest źródłem bardzo wielu inspiracji dla wciąż powracających do tego genialnego dzieło nowych pokoleń wykonawców.

Nie inaczej było i w przypadku Mayke Rademakers - poznała ona wiele wykonań i nagrań, ale i tak najczęstszym punktem odniesienia jest nagranie Casalsa. Jednak w przeciwieństwie do innych wykonawców suity Bacha są tu elementem większej całości. Przeplata ona kompozycje Bacha niemal wprost odnoszącymi się do nich współczesnymi kompozycjami - György Kurtága, Krzysztofa Pendereckiego, Benjamina Brittena, Alfreda Schnittke, a zamyka to wszystko swoimi improwizacjami. Jak sama mówi bowiem: "...W przeciwieństwie do naszych czasów, improwizacje były bardzo popularne w czasach Bacha. Komponowanie, granie na jednym lub kilku instrumentach, ale i sztuka improwizacji należały do umiejętności każdego muzyka. Zawsze byłam zaintrygowana, aby szukać tych notatek, które w rzeczywistości nie są drukowane, tych które mówią o improwizacjach. Ponieważ rękopis suit nie przetrwał, poszukiwałem adnotacji w innych bachowskich manuskryptach i zastanawiałam się, jak improwizował by Bach grając te suity." Jest to więc dla niej bardzo osobista podróż, a dla słuchaczy doskonałe domknięcie genialnego dzieła Jana Sebastiana Bacha."
autor: Wojciech Łastruga

Editor's info:
- The Suites for violoncello solo by Bach, alternated with cello works by Gubaidulina, Britten, Kurtág, Penderecki and Schnittke.

- According to performer Mayke Rademakers an authentic listening experience is, despite what we would all like to believe, simply not possible. For that reason she has strived to make a connection with today’s world, by pairing the suites with works by contemporary composers, setting them in an unusual and sharp perspective.

- The suites were not widely known before the 1900s, as they were regarded as studies. Catalan cellist Pablo Casals, was the first to record the suites at Abbey Road Studios in London in 1939. Their popularity soared soon after, and Casals’ original recording is still widely available and respected today.

- Improvisations (track 7-13) on electric cello


An exact chronology of the suites (regarding both the order in which the suites were composed and whether they were composed before or after the solo violin sonatas) cannot be completely established. However, scholars generally believe that – based on a comparative analysis of the styles of the sets of works – the cello suites arose first, effectively dating the suites pre-1720, the year on the title page of Bach’s autograph of the violin sonatas.

The suites were not widely known before the 1900s, and for a long time it was generally thought that the pieces were intended to be studies. However, after discovering Grützmacher’s edition in a thrift shop in Barcelona, Spain, at age 13, Catalan cellist Pablo Casals began studying them. Although he would later perform the works publicly, it was not until 1936, when he was 60 years old, that he agreed to record the pieces, beginning with Suites Nos. 1 and 2, at Abbey Road Studios in London. Casals became the first to record all six suites by 1939. Their popularity soared soon after, and Casals’ original recording is still widely available and respected today.

Attempts to compose piano accompaniments to the suites include a notable effort by Robert Schumann. In 1923, Leopold Godowsky realized Suites Nos. 2, 3 and 5 in full counterpoint for solo piano.

Unlike Bach’s solo violin sonatas, no autographed manuscript survived, thus ruling out the use of an urtext performing edition. However, analysis of secondary sources, including a hand-written copy by Bach’s second wife, Anna Magdalena, has produced presumably authentic editions, although critically deficient in the placement of slurs and other articulation. As a result, many interpretations of the suites exist with no solo accepted version. German cellist Michael Bach has stated that the manuscript of the suites by Anna Magdalena Bach is accurate. The unexpected positioning of the slurs corresponds closely to the harmonic development, and the details of his analysis confirm this.

In conversation with... Mayke Rademakers
You are presenting the Bach cello suites in quite an exceptional setting, combined with contemporary composers and improvisations. Could you describe your motivations behind all of this?
These days, there exists a tremendous focus upon “historic” performance practices. Besides the positive and most valuable lessons that we have learned regarding instrumentation, articulation and musical editions, one tends to forget that today’s listener hears within a completely different sphere to that of one who lived 300 years ago. An authentic listening experience is, despite what we would all like to believe, simply not possible.
It is for this reason that I have strived to make a connection with today’s world, by pairing the suites with works by contemporary composers, setting them in an unusual and incisive perspective.
This is designed as a modern reflection, with the hope and expectation that we will hear these suites in a different and more genuinely “authentic” manner thereby.

Could you disclose a little more regarding your choice of these particular composers like Gubaidulina, Kurtag and Schnittke?
The pieces I have chosen do link the suites most effectively. Exactly half-way, between the 3rd and the 4th suite, Per Slava, composed on the B.A.C.H. motive, functions like a centerfold of a magazine. Gubaidulina is a strongly spiritually.

Unlike Bach’s solo violin sonatas, no autographed manuscript survived, thus ruling out the use of an urtext performing edition. However, analysis of secondary sources, including a hand-written copy by Bach’s second wife, Anna Magdalena, has produced presumably authentic editions, although critically deficient in the placement of slurs and other articulation. As a result, many interpretations of the suites exist with no solo accepted version. German cellist Michael Bach has stated that the manuscript of the suites by Anna Magdalena Bach is accurate. The unexpected positioning of the slurs corresponds closely to the harmonic development, and the details of his analysis confirm this.

And your improvisations? Why the use of a silent cello?
In contrast with our time, improvising was very common in Bach’s era. Composing, playing one or several instruments, alongside the art of improvisation belonged to the skills of every musician.
I have always been intrigued to search for those notes which are not actually printed. Throughout these improvisations I was inspired by motives from the suites, the B.A.C.H.-motif and the various keynotes of the 6 suites. All are used in a generically subliminal way, but with enough clarity to ensure that
a connection is felt. When improvising, I prefer the use of the silent cello due to it’s remarkable possibilities in sound and expression. It also enables me to play in an effectively polyphonic manner.

muzycy:
Mayke Rademakers: cello

utwory:
CD1:
1. Suite nr. 1 in G-major - Prelude 01:53
Composer: Johann Sebastian Bach
2. Suite nr. 1 in G-major - Allemande 05:17
Composer: Johann Sebastian Bach
3. Suite nr. 1 in G-major - Courante 02:40
Composer: Johann Sebastian Bach
4. Suite nr. 1 in G-major - Sarabande 02:53
Composer: Johann Sebastian Bach
5. Suite nr. 1 in G-major - Menuet 1 & 2 03:41
Composer: Johann Sebastian Bach
6. Suite nr. 1 in G-major - Gigue 01:44
Composer: Johann Sebastian Bach
7. Prelude Con sordino senza sordino 03:07
Composer: Sofia Gabaidulina
8. Suite nr. 2 in D-minor - Prelude 03:54
Composer: Johann Sebastian Bach
9. Suite nr. 2 in D-minor - Allemande 04:48
Composers: Johann Sebastian Bach, Alfred Schnittke
10. Suite nr. 2 in D-minor - Courante 01:59
Composer: Johann Sebastian Bach
11. Suite nr. 2 in D-minor - Sarabande 04:28
Composer: Johann Sebastian Bach
12. Suite nr. 2 in D-minor - Menuet 1 & 2 03:21
Composer: Johann Sebastian Bach
13. Suite nr. 2 in D-minor - Gigue 02:43
Composer: Johann Sebastian Bach
14. Message-consolation 02:59
Composer: György Kurtág
15. Suite nr. 3 in C-major - Prelude 03:15
Composer: Johann Sebastian Bach
16. Suite nr. 3 in C-major - Allemande 04:08
Composer: Johann Sebastian Bach
17. Suite nr. 3 in C-major - Courante 03:24
Composer: Johann Sebastian Bach
18. Suite nr. 3 in C-major - Sarabande 03:45
Composer: Johann Sebastian Bach
19. Suite nr. 3 in C-major - Bourree 1 & 2 04:16
Composer: Johann Sebastian Bach
20. Suite nr. 3 in C-major - Gigue 03:13
Composer: Johann Sebastian Bach

CD2:
1. Per Slava 05:39
Composer: Krzysztof Penderecki
2. Suite nr. 4 E flat-major - Prelude 04:21
Composer: Johann Sebastian Bach
3. Suite nr. 4 E flat-major - Allemande 04:53
Composer: Johann Sebastian Bach
4. Suite nr. 4 E flat-major - Courante 03:34
Composer: Johann Sebastian Bach
5. Suite nr. 4 E flat-major - Sarabande 03:53
Composer: Johann Sebastian Bach
6. Suite nr. 4 E flat-major - Bourree 1 & 2 04:44
Composer: Johann Sebastian Bach
7. Suite nr. 4 E flat-major - Gigue 02:51
Composer: Johann Sebastian Bach
8. Tema Sacher 01:13
Composer: Benjamin Britten
9. Suite nr. 5 in G-minor - Prelude 06:04
Composer: Johann Sebastian Bach
10. Suite nr. 5 in G-minor - Allemande 06:29
Composer: Johann Sebastian Bach
11. Suite nr. 5 in G-minor - Courante 02:43
Composer: Johann Sebastian Bach
12. Suite nr. 5 in G-minor - Sarabande 04:46
Composer: Johann Sebastian Bach
13. Suite nr. 5 in G-minor - Gavotte 1 & 2 05:31
Composer: Johann Sebastian Bach
14. Suite nr. 5 in G-minor - Gigue 02:40
Composer: Johann Sebastian Bach
15. Klingende Buchstaben 05:24
Composer: Alfred Schnittke

CD3:
1. Suite nr. 6 in D-major - Prelude 05:29
Composer: Johann Sebastian Bach
2. Suite nr. 6 in D-major - Allemande 09:10
Composer: Johann Sebastian Bach
3. Suite nr. 6 in D-major - Courante 03:54
Composer: Johann Sebastian Bach
4. Suite nr. 6 in D-major - Sarabande 04:39
Composer: Johann Sebastian Bach
5. Suite nr. 6 in D-major - Gavotte 1 & 2 05:27
Composer: Johann Sebastian Bach
6. Suite nr. 6 in D-major - Gigue 04:25
Composer: Johann Sebastian Bach
7. Constant - One (improvisation) 01:49
Composer: Mayke Rademakers
8. Constant - Two (improvisation) 04:06
Composer: Mayke Rademakers
9. Constant - Three (improvisation) 05:17
Composer: Mayke Rademakers
10. Distant - One (improvisation) 03:53
Composer: Mayke Rademakers
11. Distant - Two (improvisation) 04:38
Composer: Mayke Rademakers
12. Distant - Three (improvisation) 01:28
Composer: Mayke Rademakers
13. Distant - Four (improvisation) 05:47
Composer: Mayke Rademakers

wydano: 2015-08-25
more info: www.challenge.nl
more info2: www.maykerademakers.com

CC72682

Opis

Wydawca
Challenge Classics
Kompozytor
Johann Sebastian Bach [1685-1750] + Benjamin Britten / Sofia Gabaidulina / Alfred Schnittke / Krzysztof Penderecki / György Kurtág & improvisations
Artysta
Mayke Rademakers
Nazwa
Johann Sebastian Bach
Instrument
cello
Zawiera
3CD
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