Janos Starker was one of the 20th century's best cellists, known for his warmth and expression, as well as a thorough knowledge of the instrument. On these historic recordings, Starker delivers Bach’s six suites for solo cello and sonatas with technical expertise and authenticity. Accompanied by pianist György Sebök, this re-release is captured with the pristine sound associated with the Mercury Living Presence series.
Natalie Clein, whose previous recording of the music of Ernest Bloch was described as ‘inspired’ by The Sunday Times, turns to his three suites for solo cello as part of a recital of works written in the aftermath of the Second World War. The sombre voice of the cello seems especially apposite in music of such deep seriousness, Ligeti’s short sonata providing an energetic and life-affirming finale.
Much of Bach's music is abstract enough that it can easily be arranged for new instrumental combinations, and often was by the composer himself. The music for unaccompanied violin and for unaccompanied cello forms an exceptional case; the sonatas and partitas for solo violin were part of a long tradition of virtuoso violin music to which Bach was making a conscious contribution, and the six suites for solo cello were written as extensions of the ideas in the violin pieces. Transferring the cello suites to a solo recorder, which is incapable of executing many details of the cello scores, is thus something Bach probably wouldn't have countenanced. ..
Cellist Sara Sant'Ambrogio says ''Before I knew language, I knew Bach'' referring to her earliest memories of growing up in a house full of classical music. A founding member of the Eroica Trio, with recordings on Angel/EMI Classics, Sant'Ambrogio has been profiled in Strings, Strad, Gramophone, and more. She performs on a Matteo Goffriller cello, Venice, ca. 1715. Sara earned rave reviews for her earlier Bach CD (Cello Suites, 1, 3, & 5), and these recordings are even better.
The theorbo is a sort of big brother to the lute, with a set of long, unfretted bass strings in addition to the fretted courses. This gives the instrument a wonderful, rich mellow sound which is beautifully evoked and captured in these recordings (from 1992 and 1999). Montailhet is an excellent theorbist and the music, too, is a delight.
Tilman Hoppstock is one of Germany’s most famous guitar players and the work of Bach stands in his focus for a long time: His research of over 30 years culminated in the publication of two book titles and his musicological edition is considered today a standard work by nearly all guitarists who occupy themselves with Bach. In 2013 he earned the doctor’s degree for his research on Bach. The Six Suites for solo cello are nowadays performed on a wide range of instruments and Tilman Hoppstock has adapted the Suites Nos. 1, 2 and 5 for his instrument the guitar. His large knowledge of the contrapunctal technique of Bach combined with his stupendous virtuosity on the guitar resulted in a recording of great musicality and sensibility. © Christophorus
Leading early music expert Winsome Evans presents the final chapter in her ground-breaking project to transcribe and record Bach’s solo instrumental works for the harpsichord, with the Six Cello Suites and Partita for Solo Flute. Evans’ project, some 30 years in the making, is based on evidence that Bach himself played his solo instrumental works on the keyboard – including the statement of a former student that Bach often played the solo violin and cello works ‘on the clavier, adding as much in the nature of harmony as he found necessary’. The harmonies added by Evans to the solo works are inspired by methods from Bach’s own time.
It is now generally accepted that Vivaldi wrote ten cello sonatas – one of them now lost. Six (RV 47, 41, 43, 45, 40 and 46) of the surviving nine were published posthumously as a set, in Paris, by Charles-Nicolas Le Clerc around 1740. The other three survive in manuscript collections: RV 42 (along with RV 46) is preserved in the library at Wiesentheid Castle at Unterfranken in Germany; RV 39 and 44 (along with RV 47) are to be found in a manuscript in the Naples Conservatoire.
Geminiani’s opus 5 consists of six cello sonatas, and was first published in Paris in 1746. The twenty years either side of 1740 saw the cello rise to a very fashionable position in French musical society, largely at the expense of the bass-viol – a change of fashion which stirred such strong emotions that in 1740 Hubert Le Blanc published his fierce Defense de la basse de viole contre les entreprises du violon et les pretensions du violencel. Music such as that by Vivaldi and Geminiani which is played here by Roel Dieltiens and his colleagues must have made a powerful counter-case for the cello.