Bach, J.S. / (Cello) Suites No. 1 In G Major, Bwv 1007, No. 3 In C Major, Bwv 1009, No. 4 In
| Album: | (Cello) Suites No. 1 In G Major, Bwv 1007, No. 3 In C Major, Bwv 1009, No. 4 In | Collection: | Classical | |
| Artist: | Bach, J.S. | Added: | Apr 2012 | |
| Label: | Eone Music | |||
A-File Activity
| Add Date: | 2012-05-05 | Pull Date: | 2012-07-08 | Charts: | Classical/Experimental |
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| Week Ending: | Jun 17 | May 20 |
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| Airplays: | 1 | 1 |
Recent Airplay
| 1. | Jun 15, 2012: | Flipping Through Time
(4:44) Allemande |
2. | May 16, 2012: | meow after midnight
(2:40) Suite No. 3 In C Major, Bwv 1009. Prelude |
Album Review
Larry
Reviewed 2012-04-26
Reviewed 2012-04-26
Bach, J.S. (Cello) Suites No. 1 in G Major, BWV 1007, No. 3 in C Major, BWV 1009, No. 4 in Eb Major, BWV 1010
Label: eOne, 2012
CHARLES CURTIS. BACH: AN IMAGINARY DANCE.
Charles Curtis, cello, has provided these three solo cello suites, composed by Bach between 1717 and 1723, with accompaniment by organ and tabla. A tabla is a popular Indian percussion instrument used in Hindustani classical music and popular Indian music, and consists of a pair of hand drums of contrasting sizes and timbres. Playing technique involves using the fingers and palms to create a wide variety of sounds. Curtis’ elaborations are enjoyable, but not unique. Bach’s solo string works have been interpreted by Schuman, Busoni, Godowsky and Rachmaninoff. Curtis captures the Baroque’s “love of excess, “ “reveling in surfeit, in architectural ornateness . . . in the sense of grace.” The dance spirits of the country and courtly dances in each suite shine through: “the dizzying abandon of the Gigue, the solemn momentousness of the Sarabande, the seductiveness of Menuets and Bourrées.”
(2:40) Suite No. 3 in C Major, BWV 1009. Prelude. Lively, noble and brave.
(4:25) Allemande. Skip lively for we have much to display.
(2:59) Courante. Graceful triple rhythm, assertive melody.
(4:23) Sarabande. Glide, then take small steps. Contemplative, even melancholy.
(4:20) Bourrée. At the peasant tavern, prance modestly.
(3:15) Gigue. At the court, bow and twirl.
(4:20) Suite No. 4 in Eb Major, BWV 1010. Prelude. Soaring song, setting the scene before a candle-lit royal stage.
(4:37) Allemande. Well-mannered melody, as partners in silk and brocade clasp hands and parade.
(3:53) Courante. Almost tipsy, gay and playful.
(4:52) Sarabande. Reflective, a dancer with face downcast, moving slowly in circles.
(5:08) Bourrée. Into the country once more, for fun.
(2:31) Gigue. Dance at the village inn.
(2:50) Suite No. 1 in G Major, BWV 1007. Prelude. The most famous piece in the cello suites. Incomparably beautiful.
(4:44) Allemande. A thoughtful walk around the dance floor.
(2:35) Courante. Lively and energetic, but playful.
(2:53) Sarabande. As I look back on my life.
(3:28) Menuet. We will show them how well we know those formal, noble steps and turns.
(1:46) Gigue. Raise a glass and join me.
Label: eOne, 2012
CHARLES CURTIS. BACH: AN IMAGINARY DANCE.
Charles Curtis, cello, has provided these three solo cello suites, composed by Bach between 1717 and 1723, with accompaniment by organ and tabla. A tabla is a popular Indian percussion instrument used in Hindustani classical music and popular Indian music, and consists of a pair of hand drums of contrasting sizes and timbres. Playing technique involves using the fingers and palms to create a wide variety of sounds. Curtis’ elaborations are enjoyable, but not unique. Bach’s solo string works have been interpreted by Schuman, Busoni, Godowsky and Rachmaninoff. Curtis captures the Baroque’s “love of excess, “ “reveling in surfeit, in architectural ornateness . . . in the sense of grace.” The dance spirits of the country and courtly dances in each suite shine through: “the dizzying abandon of the Gigue, the solemn momentousness of the Sarabande, the seductiveness of Menuets and Bourrées.”
(2:40) Suite No. 3 in C Major, BWV 1009. Prelude. Lively, noble and brave.
(4:25) Allemande. Skip lively for we have much to display.
(2:59) Courante. Graceful triple rhythm, assertive melody.
(4:23) Sarabande. Glide, then take small steps. Contemplative, even melancholy.
(4:20) Bourrée. At the peasant tavern, prance modestly.
(3:15) Gigue. At the court, bow and twirl.
(4:20) Suite No. 4 in Eb Major, BWV 1010. Prelude. Soaring song, setting the scene before a candle-lit royal stage.
(4:37) Allemande. Well-mannered melody, as partners in silk and brocade clasp hands and parade.
(3:53) Courante. Almost tipsy, gay and playful.
(4:52) Sarabande. Reflective, a dancer with face downcast, moving slowly in circles.
(5:08) Bourrée. Into the country once more, for fun.
(2:31) Gigue. Dance at the village inn.
(2:50) Suite No. 1 in G Major, BWV 1007. Prelude. The most famous piece in the cello suites. Incomparably beautiful.
(4:44) Allemande. A thoughtful walk around the dance floor.
(2:35) Courante. Lively and energetic, but playful.
(2:53) Sarabande. As I look back on my life.
(3:28) Menuet. We will show them how well we know those formal, noble steps and turns.
(1:46) Gigue. Raise a glass and join me.
Track Listing