The Complete Works for Solo Violin & Solo Cello, In New Transcriptions fro Lute By NIGEL NORTH_音乐专辑
The Complete Works for Solo Violin & Solo Cello, In New Transcriptions fro Lute By NIGEL NORTH
又名: Bach On The Lute
表演者: Nigel North
流派: 古典
专辑类型: 专辑
介质: CD
发行时间: 2000
唱片数: 4
出版者: Linne
条形码: 0691062601283
专辑简介
The Sonatas and Partitas For Solo Violin (BWV 1001-1006)
These wonderful masterpieces of music need no introduction. In the violinist's repertoire they are without parallel for their quality, depth of musical expression and for their technical difficulties! They were probably composed whilst Bach was in C?then. The autograph manuscript has a title page which reads:
Sei Solo a Violino senza Basso accompagnato.
Libro Primo da Joh.Seb.Bach. A[nn]o 1720.
In transcribing these Sonatas and Partitas for the lute I have found it interesting to consider the artistic connection between three musicians - Bach, Weiss and Pisendel. Johann Georg Pisendel was the violinist who is thought to have inspired these violin compositions and we know that he met Bach in Weimar as early as 1709. Pisendel was employed at the court in Dresden from 1712 - 1755 and became the leader of the famous court orchestra there in 1728. Weiss was also employed at the Dresden court (from 1719 - 1750) and both he and Pisendel would have played in the orchestra together and collaborated on many musical projects. In fact Weiss and Pisendel had rather similar careers. Not only were they amongst the most highly esteemed musicians at the court of Dresden but both spent some time in Italy in the early part of their musical lives and the influence of Italian music is clearly heard in their own compositions. Pisendel studies with Vivaldi in Venice in 1716 and Weiss spent several years in Rome. Pisendel also studied in Rome in 1717 and must have met Weiss there before they both eventually returned to the court of Dresden.
In viewing the violin Sonatas and Partitas as a set, I find that I am most aware of the Italian influence in the music which is reinforced through the link with Pisendel and his Italian training; as though Bach was aware of this when writing the set of pieces. All three Sonatas follow a similar Italian based format of a slow introductory movement (some with much written out ornamentation in Italian style) - a central fugue - a slow cantabile movement - concluding with a lighter more playful fast movement. Within this structure it is amazing how each Sonata is so very different. The strongest impression that the Sonatas have on me is how Bach dares to write larger and more extended fugues through the course of the three Sonatas. The final C major fugue (BWV 1005) is one of the longest that Bach wrote (around 10 minutes) and is written in a deeply satisfying da capo form which was to become more familiar in his late compositions.
The three Partitas are even more diverse in their form and content. The 1st Partita BWV 1002 (originally in B minor) has four dance-originated movements, each with a ‘double' or variation, but to me it also crosses the boundary into being at the same time like an Italianate four movement sonata. The 2nd Partita BWV 1004 (in D minor) is a monumental work, often described as being two pieces in one. Four basic dance movements followed by a Chaconne which, on its own, is longer than the first four dances. The 3rd Partita BWV 1006 (originally in E major) is for me the brightest of the pieces. It is the only place in the whole set which has real French dance movements - the Loure, Gavotte and Minuets in particular.
Suites for Solo Cello (BWV 1007 - 1012)
With these suites we have a direct link with the lute through Bach's Suite for lute in G minor, BWV 995 which is his own reworking of the 5th Cello Suite, BWV 1011. This has been the main inspiration for me to transcribe all six cello suites for Volumes 3 and 4 of Bach on the Lute. Compared with the violin Sonatas and Partitas where we have an autograph, transcribing the cello suites for lute posed some different questions and also gave many other possibilities. We have four surviving sources of the cello suites, but none from Bach himself. The version in the hand of Anna Magdalena Bach is the one often used by cellists as the principal text, although her articulations and bowings are often unclear and ambiguous; the manuscript by Bach's pupil Kellner is, for me, very interesting with many little differences of text and articulations and some extra tempo indications, and I often found myself preferring Kellner's taste; the other two sources were copied sometime after 1750 and in that respect seemed not so important for my work on the lute. All four sources are probably copied from the one original which we unfortunately lack.
Unlike the violin works, the cello suites have a uniformity of structure; all have a ‘classic' Bach suite of a Prelude plus 5 dances, with Menuets, Bourees and Gavottes equally represented. However, within this similarity of dance movements each suite is absolutely unique. As a set, I find that the suites grow from a naive simplicity in the 1st suite to a deeper and more emotional intensity in the 2nd, bright and optimistic in the 3rd, expansive and warm in the 4th, tragic and dramatic in the 5th and finally jubilant in the D major tonality of the 6th suite. One personal delight is the chance to play a Sarabande in each suite; Bach's sarabandes remain my ‘Desert Island Disc' music.
Release Date 2007
曲目
Bach On The Lute Volume 1:
Sonata In G Minor BWV 1001
01 i Adagio 3:19
02 ii Fuga - Allegro 5:28
03 iii Siciliana 2:47
04 iv Presto 3:20
Partita In A Minor BWV 1002
05 i Allemanda - Double 9:55
06 ii Corrente - Double (presto) 5:10
07 iii Sarabande - Double 4:49
08 iv Tempo Di Borea - Double 4:34
Partita In D Minor BWV 1004
09 i Allemanda 5:40
10 ii Corrente 3:09
11 iii Sarabanda 4:11
12 iv Giga 2:51
13 v Ciaconna 14:02
Bach On The Lute Volume 2:
Partita in F Major BWV 1006
01 i Preludio 4:55
02 ii Loure 3:53
03 iii Gavotte en Rondeaux 3:18
04 iv Menuets 1 & 2 4:23
05 v Bouree 1:44
06 vi Gigue 2:24
Sonata In A Minor BWV 1003
07 i Grave 3:42
08 ii Fuga 7:50
09 iii Andante 4:53
10 iv Allegro 6:29
Sonata In C Major BWV 1005
11 i Adagio 4:08
12 ii Fuga 10:14
13 iii Largo 2:41
14 iv Allegro Assai 6:43
Bach On The Lute Volume 3:
Suite No. 1 In C Major (after BWV 1007)
01 i Prelude 5:07
02 ii Allemande 4:51
03 iii Courante 3:03
04 iv Sarabande 3:12
05 v Menuets 1 & 2 3:09
06 vi Gigue 1:51
Suite No. 2 In A Minor (after BWV 1008)
07 i Prelude 3:47
08 ii Allemande 4:15
09 iii Courante 2:29
10 iv Sarabande 4:03
11 v Menuets 1 & 2 3:11
12 vi Gigue 2:52
Suite No. 4 In B flat Major (after BWV 1010)
13 i Prelude 4:58
14 ii Allemande 4:44
15 iii Courante 3:48
16 iv Sarabande 4:08
17 v Bourees 1 & 2 4:00
18 vi Gigue 2:10
Bach On The Lute Volume 4:
Suite No. 3 In G Major (after BWV 1009)
01 i Prelude (presto) 3:59
02 ii Allemande 4:33
03 iii Courante 3:04
04 iv Sarabande 3:46
05 v Bouree 1 & 2 3:17
06 vi Gigue 3:21
Suite No. 5 In G Minor (after BWV 995 & 1011)
07 i Prelude - Tres Vite 5:17
08 ii Allemande 5:02
09 iii Courante 2:10
10 iv Sarabande 3:03
11 v Gavotte 1 & 2 4:31
12 vi Gigue 2:14
Suite No. 6 In D Major (after BWV 1012)
13 i Prelude 4:56
14 ii Allemande (adagio) 7:32
15 iii Courante 2:56
16 iv Sarabande 4:39
17 v Gavotte 1 & 2 3:49
18 vi Gigue 3:01
