Author Topic: Bach's Cello Suites  (Read 101516 times)

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Offline ShineyMcShineShine

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Re: Bach's Cello Suites
« Reply #540 on: February 12, 2018, 09:19:23 AM »
Can anyone recommend a good dry recording of the cello suites? I have Jaap ter Linden's and I don't like the reverb. Same goes for Bylsma's.

Online San Antone

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Re: Bach's Cello Suites
« Reply #541 on: February 12, 2018, 09:35:58 AM »
Can anyone recommend a good dry recording of the cello suites? I have Jaap ter Linden's and I don't like the reverb. Same goes for Bylsma's.

This is a good set, imo, with dry acoustic.


Offline Omicron9

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Re: Bach's Cello Suites
« Reply #542 on: March 27, 2018, 09:32:11 AM »
Listened to up to 3/allemande. I don't see any particular reason to prefer this recording to any other average recording.

This is regarding the new Demenga on ECM.  I almost think ECM New Series can do no wrong, but I was really disappointed in this.  Very average at best.  Nothing to differentiate the performance other than some intonation issues. 

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Baron Scarpia

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Re: Bach's Cello Suites
« Reply #543 on: March 27, 2018, 09:41:34 AM »
I find it amazing that recordings of these works have proliferated so in recent years.

Online Mandryka

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Re: Bach's Cello Suites
« Reply #544 on: March 27, 2018, 12:12:40 PM »
  Nothing to differentiate the performance other than some intonation issues. 

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 I find him less song like and more speech like than many other cellists. Listen, for example, not the allemande of 3, but to the sarabande.
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Offline (: premont :)

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Re: Bach's Cello Suites
« Reply #545 on: March 27, 2018, 01:56:38 PM »
I find it amazing that recordings of these works have proliferated so in recent years.

Yes, the cello suites may be the most recorded Bach-works to day. There are f.i. more recordings of the cello suites than there are of the Brandenburg concertos.
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Online Mandryka

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Re: Bach's Cello Suites
« Reply #546 on: March 27, 2018, 10:10:23 PM »
I've listened to Demenga's new recording of ECM suites again and more closely than before, I love them for the bowing, the restraint, the rhythms, and for the quiet and gruff cello sound.

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Online San Antone

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Re: Bach's Cello Suites
« Reply #547 on: March 27, 2018, 10:53:34 PM »
I've listened to Demenga's new recording of ECM suites again and more closely than before, I love them for the bowing, the restraint, the rhythms, and for the quiet and gruff cello sound.

+1

Offline Omicron9

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Re: Bach's Cello Suites
« Reply #548 on: March 29, 2018, 07:29:52 AM »
I've listened to Demenga's new recording of ECM suites again and more closely than before, I love them for the bowing, the restraint, the rhythms, and for the quiet and gruff cello sound.

That's cool.  My opinion was merely that, and whether I like a specific recording or not is moot really.  What I do like is that there are so many recordings of this miraculous work of art, and that each brings differing detail or considerations.  All new versions and recordings are quite welcomed in these quarters.

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Online Mandryka

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Re: Bach's Cello Suites
« Reply #549 on: April 08, 2018, 02:14:23 AM »



This recording of two suites by Sadao Udagawa is an excercise in imagination and in style. He has fantasised that there was a manuscript for unaccompanied viol suites written by Bach, given to Friedrich Wilhelm II by CPE Bach and performed by Forqueray in a "feminine and rounded" way. He calls this style rococo, and it's what he's attempted to do on the CD.

The result is totally disorientating. It's slow, but that's maybe something that brings rewards, only time will tell.  At the moment I'm not sure that there's anything to be gained by joining Udagawa on his poetical adventure. I am not able to say whether it's more than just a grotesque curiosity.
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Online San Antone

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Re: Bach's Cello Suites
« Reply #550 on: April 08, 2018, 04:00:15 AM »


This recording of two suites by Sadao Udagawa is an excercise in imagination and in style. He has fantasised that there was a manuscript for unaccompanied viol suites written by Bach, given to Friedrich Wilhelm II by CPE Bach and performed by Forqueray in a "feminine and rounded" way. He calls this style rococo, and it's what he's attempted to do on the CD.

The result is totally disorientating. It's slow, but that's maybe something that brings rewards, only time will tell.  At the moment I'm not sure that there's anything to be gained by joining Udagawa on his poetical adventure. I am not able to say whether it's more than just a grotesque curiosity.

I sampled the tracks on Amazon and was interested in what I heard, but will wait on purchasing.  There appears to be something of a trend in more recent Bach recordings which demonstrate slower, looser and, for lack of a better term, atypical interpretations of Bach: Anton Batagov, Wolfgang Rubsam, Viola de Hoog, Thomas Demenga (atypical in other ways), Gunar Letzbor.  And I've noticed that while I "love" them on first hearing over time they lose much of their attraction.

Online Mandryka

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Re: Bach's Cello Suites
« Reply #551 on: April 08, 2018, 05:55:07 AM »

By the way I noticed an interesting point in common between Letzbor's solo Beethoven and Beghin's "Hearing Machine" -- they both think it's interesting, revealing,  to present the music on the recording from the player's point of view, rather than from the perspective of an audience.

Re Sadao Udagawa, I think you're probably very sensible to keep your money in your pocket. In fact, I have a rule to never buy anything if it's available high quality streaming.
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Online San Antone

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Re: Bach's Cello Suites
« Reply #552 on: April 08, 2018, 07:05:53 AM »
By the way I noticed an interesting point in common between Letzbor's solo Beethoven and Beghin's "Hearing Machine" -- they both think it's interesting, revealing,  to present the music on the recording from the player's point of view, rather than from the perspective of an audience.

Re Sadao Udagawa, I think you're probably very sensible to keep your money in your pocket. In fact, I have a rule to never buy anything if it's available high quality streaming.

I didn't find it available to stream; which is why I would even consider buying it.  Where did you find it?

Online Mandryka

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Re: Bach's Cello Suites
« Reply #553 on: April 08, 2018, 08:12:40 AM »
Qobuz.

The label, Waon, seems to comprise entirely of "characterful" Japanese performers of early music.
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kishnevi

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Re: Bach's Cello Suites
« Reply #554 on: April 08, 2018, 08:18:41 AM »
By the way I noticed an interesting point in common between Letzbor's solo Beethoven and Beghin's "Hearing Machine" -- they both think it's interesting, revealing,  to present the music on the recording from the player's point of view, rather than from the perspective of an audience.

Re Sadao Udagawa, I think you're probably very sensible to keep your money in your pocket. In fact, I have a rule to never buy anything if it's available high quality streaming.

You mean, I assume, Letzbor's solo Bach....

[Back of milk carton: HAVE YOU SEEN ME?  GMG EDIT FUNCTION.   LAST KNOWN LOCATION CANBERRA  APRIL 3]

I suppose you might think of the idea as being the performer playing only for himself, with no audience to please....

Offline aukhawk

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Re: Bach's Cello Suites
« Reply #555 on: February 06, 2019, 02:30:03 AM »
I've lost count of the new releases of Cello Suites in the last year or so but this discovery by Mandryka caught my eye (and ear):



I know this performer through his Froberger transcriptions.

If you look carefully at the picture and count the strings you’ll see he’s not playing a cello, he’s playing a five string bass violin called a violone di Corelli. The recording is definitely worth a listen.

Definitely worth a listen I agree.  The tone of the instrument (whatever it is, and there is some discussion on that elsewhere) is darkest mahogany, in its lower registers more like a double bass, in the higher registers perhaps a bit strangled-sounding.  It is presumably a quiet instrument recorded quite close, sounding rather gamba-like as a result of that - no bad thing.
Tommaso's playing of this 5-stringed instrument is not always deft, with some stumbles and false touches especially noticeable in the slow movements.  In any case he tends to even out the tempi - the quick movements taken leisurely, the slow ones quite quickly. Of the suites I've listened to so far (1,4,5,6) the 5th is very successful, as enjoyable as any I've heard, while the 6th in contrast didn't appeal to me at all - sounds like a different instrument but I don't have the sleevenotes.
Many repeats are omitted, leading to an overall timing for the 1st suite of under 13m30, and only 20 minutes for the 6th - contrast that with Kniazev (an extreme case I know) who takes 16 minutes for the Allemande alone and 42 for the entire suite.  Useful to know if you only have time for a quick Bach fix!

 

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