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6 Suites for Cello Solo
Johann Sebastian Bach

Pieter Wispelwey

6 Suites for Cello Solo

Price: € 19.95 13.97
Format: CD
Label: Evil Penguin
UPC: 0608917721423
Catnr: EPRC 0027
Release date: 27 October 2017
old €19.95 new € 13.97
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2 CD
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19.95 13.97
old €19.95 new € 13.97
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Label
Evil Penguin
UPC
0608917721423
Catalogue number
EPRC 0027
Release date
27 October 2017
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

Made at the age of 50, this is Pieter Wispelwey’s third recording of the Cello Suites by J.S. Bach, and in very many ways his most impressive. The big difference in this case is that the cello is equipped with gut strings and tuned to 392 Hz. This results in tuning roughly a half-tone lower than usual, and with lower tension in the strings this has a greater effect that you might imagine. The low tension in the strings makes the way the music ‘speaks’ very different, and this is articulated in performances which have a strong narrative feel and less emphasis on the lyrical side of the music. Wispelwey extends shapes, plays with pauses and silence, and explores the resonance of the instrument to the full. [...] So yes, even if you know and love one or more complete recording of J.S Bach’s Suites for cello solo, then you owe it to yourself to acquire a copy of this release. If ever there was a recording which takes us behind the notes of these pieces and adds to our understanding of their qualities then this is the one. That these are deeply satisfying performances and a marvellous recording seems an almost incidental bonus. (for full review see: MusicWeb)
Critici en consumenten zijn het eens: dit is de beste opname van de Cellosuites van de 21e eeuw!
Dit is Pieter Wispelweys derde opname van de Cellosuites van Johann Sebastian Bach, en in vele opzichten zijn meest indrukwekkende. Het grote verschil is in dit geval het feit dat de cello is voorzien van darmsnaren en gestemd op 392 Hz. Hierdoor is de cello ongeveer een halve toon lager gestemd dan gebruikelijk, en met minder spanning op de snaren heeft dit grote gevolgen. De lage spanning op de snaren maakt de manier waarop de muziek ‘spreekt’ zeer verschillend, en dit wordt benadrukt in uitvoeringen die een sterk narratief gevoel hebben en weinig nadruk leggen op de lyrische kant van de muziek. Wispelwey strekt vormen uit, speelt met pauzes en stilte en verkent de resonantie van het instrument ten volle. (…) Dus ja, zelfs als je een of meer volledige opnames van Bachs Cellosuites kent of liefhebt, ben je jezelf verschuldigd om een kopie van deze uitgave aan te schaffen. Als er ooit een opname was die ons meeneemt achter de noten van deze stukken en ons begrip van hun kwaliteiten vergroot, dan is het deze. Dat het daarbij om zeer bevredigende uitvoeringen en een fantastische opname gaat lijkt haast een toevallige bonus. (MusicWeb)
Dies ist Pieter Wispelweys dritte Aufnahme der Cello Suites von J. S. Bach und in vielerlei Hinsicht sein eindrucksvollstes Album. Der große Unterschied besteht in diesem Fall darin, dass das Cello mit Darmsaiten ausgestattet und auf 392 Hz gestimmt ist. Dies führt dazu, dass der Grundton ungefähr um einen Halbton tiefer als üblich gestimmt wird und bei geringerer Saitenspannung mit einem sehr großen Effekt. Die niedrige Spannung in den Streichern bewirkt die Art und Weise, wie die Musik "spricht" und das wird in Performances artikuliert, die ein starkes narratives Flair und weniger Betonung auf den lyrischen Teil der Musik haben. Wispelwey erweitert die Formen, spielt mit Pausen und Stille und erforscht die Resonanz des Instruments in vollen Zügen. ...] Also ja, selbst wenn Sie eine oder mehrere vollständige Aufnahmen von J. S. Bachs Suiten für Cello-Solo kennen und lieben, dann schulden Sie es sich selbst, eine Kopie dieser Veröffentlichung zu erwerben.
Wenn es jemals eine Aufnahme gab, die unser Verständnis erweitert, dann ist es diese. Dass es sich dabei um zutiefst zufriedenstellende Leistung und eine wunderbare Aufnahme handelt, scheint ein fast zufälliger Bonus zu sein. (MusicWeb)

Artist(s)

Pieter Wispelwey (cello)

Pieter Wispelwey is equally at ease on the modern or period cello. His acute stylistic awareness, combined with a truly original interpretation and a phenomenal technical mastery, has won the hearts of critics and public alike in repertoire ranging from JS Bach to Schnittke, Elliott Carter and works composed for him. Pieter Wispelwey enjoys chamber music collaborations and regular duo partners include pianists Cédric Tiberghien and Alasdair Beatson and he appears as a guest artist with a number of string quartets including the Australian String Quartet. Wispelwey’s career spans five continents and he has appeared as soloist with many of the world’s leading orchestras including the Boston Symphony, Dallas Symphony, Tokyo Philharmonic, Sydney Symphony, London Philharmonic, Gewandhaus Orchester Leipzig, Danish National Radio...
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Pieter Wispelwey is equally at ease on the modern or period cello. His acute stylistic awareness, combined with a truly original interpretation and a phenomenal technical mastery, has won the hearts of critics and public alike in repertoire ranging from JS Bach to Schnittke, Elliott Carter and works composed for him.
Pieter Wispelwey enjoys chamber music collaborations and regular duo partners include pianists Cédric Tiberghien and Alasdair Beatson and he appears as a guest artist with a number of string quartets including the Australian String Quartet.
Wispelwey’s career spans five continents and he has appeared as soloist with many of the world’s leading orchestras including the Boston Symphony, Dallas Symphony, Tokyo Philharmonic, Sydney Symphony, London Philharmonic, Gewandhaus Orchester Leipzig, Danish National Radio Symphony and Camerata Salzburg. Conductor collaborations include Ivan Fischer, Esa-Pekka Salonen, Herbert Blomstedt, Yannick Nézet-Séguin, Jeffrey Tate, Kent Nagano, Sir Neville Marriner, Philippe Herreweghe, Ton Koopman and Sir Roger Norrington.
With regular recital appearances in London (Wigmore Hall), Paris (Châtelet, Louvre), Amsterdam (Concertgebouw, Muziekgebouw), Brussels (Bozar), Berlin (Konzerthaus), Milan (Societta del Quartetto), Buenos Aires (Teatro Colon), Sydney (The Utzon Room), Los Angeles (Walt Disney Hall) and New York (Lincoln Center), Wispelwey has established a reputation as one of the most charismatic recitalists on the circuit.
In 2012 Wispelwey celebrated his 50th birthday by embarking on a project showcasing the Bach Cello Suites. He recorded the complete Suites for the third time. A major strand of his recital performances is his performances of the complete suites during the course of one evening, an accomplishment that has attracted major critical acclaim throughout Europe and the US. Pieter Wispelwey plays on a 1760 Giovanni Battista Guadagnini cello and a 1710 Rombouts baroque cello.

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Composer(s)

Johann Sebastian Bach

Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.  Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.  
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Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.

Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.


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Disc #1
01.
Suite no. 1 in G major BWV 1007: Prelude
02:08
(Johann Sebastian Bach) Pieter Wispelwey
02.
Suite no. 1 in G major BWV 1007: Allemande
04:45
(Johann Sebastian Bach) Pieter Wispelwey
03.
Suite no. 1 in G major BWV 1007: Courante
02:43
(Johann Sebastian Bach) Pieter Wispelwey
04.
Suite no. 1 in G major BWV 1007: Sarabande
02:48
(Johann Sebastian Bach) Pieter Wispelwey
05.
Suite no. 1 in G major BWV 1007: Menuet I and II
03:05
(Johann Sebastian Bach) Pieter Wispelwey
06.
Suite no. 1 in G major BWV 1007: Gigue
01:33
(Johann Sebastian Bach) Pieter Wispelwey
07.
Suite no. 2 in D minor BWV 1008: Prelude
03:21
(Johann Sebastian Bach) Pieter Wispelwey
08.
Suite no. 2 in D minor BWV 1008: Allemande
04:15
(Johann Sebastian Bach) Pieter Wispelwey
09.
Suite no. 2 in D minor BWV 1008: Courante
01:59
(Johann Sebastian Bach) Pieter Wispelwey
10.
Suite no. 2 in D minor BWV 1008: Sarabande
04:34
(Johann Sebastian Bach) Pieter Wispelwey
11.
Suite no. 2 in D minor BWV 1008: Menuet I and II
02:48
(Johann Sebastian Bach) Pieter Wispelwey
12.
Suite no. 2 in D minor BWV 1008: Gigue
02:36
(Johann Sebastian Bach) Pieter Wispelwey
13.
Suite no. 3 in C major BWV 1009: Prelude
02:45
(Johann Sebastian Bach) Pieter Wispelwey
14.
Suite no. 3 in C major BWV 1009: Allemande
04:17
(Johann Sebastian Bach) Pieter Wispelwey
15.
Suite no. 3 in C major BWV 1009: Courante
02:59
(Johann Sebastian Bach) Pieter Wispelwey
16.
Suite no. 3 in C major BWV 1009: Sarabande
04:10
(Johann Sebastian Bach) Pieter Wispelwey
17.
Suite no. 3 in C major BWV 1009: Bourrée I and II
03:17
(Johann Sebastian Bach) Pieter Wispelwey
18.
Suite no. 3 in C major BWV 1009: Gigue
03:10
(Johann Sebastian Bach) Pieter Wispelwey

Disc #2
01.
Suite no. 4 E flat major BWV 1010: Prelude
04:10
(Johann Sebastian Bach) Pieter Wispelwey
02.
Suite no. 4 E flat major BWV 1010: Allemande
04:09
(Johann Sebastian Bach) Pieter Wispelwey
03.
Suite no. 4 E flat major BWV 1010: Courante
03:06
(Johann Sebastian Bach) Pieter Wispelwey
04.
Suite no. 4 E flat major BWV 1010: Sarabande
04:33
(Johann Sebastian Bach) Pieter Wispelwey
05.
Suite no. 4 E flat major BWV 1010: Bourée I and II
04:24
(Johann Sebastian Bach) Pieter Wispelwey
06.
Suite no. 4 E flat major BWV 1010: Gigue
02:58
(Johann Sebastian Bach) Pieter Wispelwey
07.
Suite no. 5 in C minor BWV 1011: Prelude
05:19
(Johann Sebastian Bach) Pieter Wispelwey
08.
Suite no. 5 in C minor BWV 1011: Allemande
04:45
(Johann Sebastian Bach) Pieter Wispelwey
09.
Suite no. 5 in C minor BWV 1011: Courante
02:03
(Johann Sebastian Bach) Pieter Wispelwey
10.
Suite no. 5 in C minor BWV 1011: Sarabande
03:41
(Johann Sebastian Bach) Pieter Wispelwey
11.
Suite no. 5 in C minor BWV 1011: Gavotte I and II
04:27
(Johann Sebastian Bach) Pieter Wispelwey
12.
Suite no. 5 in C minor BWV 1011: Gigue
02:13
(Johann Sebastian Bach) Pieter Wispelwey
13.
Suite no. 6 in D major (a cinq cordes) BWV 1012: Prelude
04:48
(Johann Sebastian Bach) Pieter Wispelwey
14.
Suite no. 6 in D major (a cinq cordes) BWV 1012: Allemande
07:58
(Johann Sebastian Bach) Pieter Wispelwey
15.
Suite no. 6 in D major (a cinq cordes) BWV 1012: Courante
03:32
(Johann Sebastian Bach) Pieter Wispelwey
16.
Suite no. 6 in D major (a cinq cordes) BWV 1012: Sarabande
05:50
(Johann Sebastian Bach) Pieter Wispelwey
17.
Suite no. 6 in D major (a cinq cordes) BWV 1012: Gavotte I and II
04:09
(Johann Sebastian Bach) Pieter Wispelwey
18.
Suite no. 6 in D major (a cinq cordes) BWV 1012: Gigue
04:07
(Johann Sebastian Bach) Pieter Wispelwey
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