Johnny Gandelsman - J.S. Bach: Complete Cello Suites (Transcribed For Violin) (2020)
BAND/ARTIST: Johnny Gandelsman
- Title: J.S. Bach: Complete Cello Suites (Transcribed For Violin)
- Year Of Release: 2020
- Label: IN A CIRCLE RECORDS
- Genre: Classical
- Quality: flac lossless
- Total Time: 01:47:29
- Total Size: 558 mb
- WebSite: Album Preview
Tracklist
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CD1
01. Suite No.1, in G Major (transposed to D Major), BWV 1007 I. Prélude
02. Suite No.1, in G Major (transposed to D Major), BWV 1007 II. Allemande
03. Suite No.1, in G Major (transposed to D Major), BWV 1007 III. Courante
04. Suite No.1, in G Major (transposed to D Major), BWV 1007 IV. Sarabande
05. Suite No.1, in G Major (transposed to D Major), BWV 1007 V. Menuet I & II
06. Suite No.1, in G Major (transposed to D Major), BWV 1007 VI. Gigue
07. Suite No.2, in D minor (transposed to A minor), BWV 1008 I. Prélude
08. Suite No.2, in D minor (transposed to A minor), BWV 1008 II. Allemande
09. Suite No.2, in D minor (transposed to A minor), BWV 1008 III. Courante
10. Suite No.2, in D minor (transposed to A minor), BWV 1008 IV. Sarabande
11. Suite No.2, in D minor (transposed to A minor), BWV 1008 V. Menuett I & II
12. Suite No.2, in D minor (transposed to A minor), BWV 1008 VI. Gigue
13. Suite No.3, in C Major (transposed to G Major), BWV 1009 I. Prélude
14. Suite No.3, in C Major (transposed to G Major), BWV 1009 II. Allemande
15. Suite No.3, in C Major (transposed to G Major), BWV 1009 III. Courante
16. Suite No.3, in C Major (transposed to G Major), BWV 1009 IV. Sarabande
17. Suite No.3, in C Major (transposed to G Major), BWV 1009 V. Bourrée I & II
18. Suite No.3, in C Major (transposed to G Major), BWV 1009 VI. Gigue
CD2
01. Suite No.4, in E-flat Major (transposed to B-flat Major), BWV 1010 I. Prélude
02. Suite No.4, in E-flat Major (transposed to B-flat Major), BWV 1010 II. Allemande
03. Suite No.4, in E-flat Major (transposed to B-flat Major), BWV 1010 III. Courante
04. Suite No.4, in E-flat Major (transposed to B-flat Major), BWV 1010 IV. Sarabande
05. Suite No.4, in E-flat Major (transposed to B-flat Major), BWV 1010 V. Bourrée I & II
06. Suite No.4, in E-flat Major (transposed to B-flat Major), BWV 1010 VI. Gigue
07. Suite No.5, in C minor (transposed to G minor), BWV 1011 I. Prélude
08. Suite No.5, in C minor (transposed to G minor), BWV 1011 II. Allemande
09. Suite No.5, in C minor (transposed to G minor), BWV 1011 III. Courante
10. Suite No.5, in C minor (transposed to G minor), BWV 1011 IV. Sarabande
11. Suite No.5, in C minor (transposed to G minor), BWV 1011 V. Gavotte I & II
12. Suite No.5, in C minor (transposed to G minor), BWV 1011 VI. Gigue
13. Suite No.6, in D major, BWV 1012 I. Prélude
14. Suite No.6, in D major, BWV 1012 II. Allemande
15. Suite No.6, in D major, BWV 1012 III. Courante
16. Suite No.6, in D major, BWV 1012 IV. Sarabande
17. Suite No.6, in D major, BWV 1012 V. Gavotte I & II
18. Suite No.6, in D major, BWV 1012 VI. Gigue
In a Circle Records is proud to present Johnny Gandelsman’s new solo album, featuring JS Bach’s complete cello suites, transcribed for violin. A follow-up to Gandelsman’s celebrated debut recording of Bach’s complete Sonatas and Partitas, the album features the first-ever recording of the Sixth Suite on a 5-string violin. Gandelsman’s years of experience working with master musicians from various world traditions (Bela Fleck, Martin Hayes, Kayhan Kalhor) brings a refreshing and deeply personal viewpoint to these magnificent works.
Gandelsman says: “similar to the Sonatas and Partitas, living in the world of the cello suites feels like working in a scientist’s lab - the compositions radiate with the joy of continuously finding new ways to expand the technical and emotional possibilities of the instrument, through the simple act of imagining the impossible, and then putting it down on paper.” He adds: “In the violin pieces, I tried to follow the manuscript as much as I could. The cello suites feel different. What I see is an implication for infinite possibilities, the way an incredible improviser can find endless variation within the simplest form. I've been thinking a lot about one of my favorite musicians, the Irish fiddler Martin Hayes. Seeing Martin weave together a medley of Irish tunes is very similar to seeing and experiencing amazing magic - I'm always left dumbfounded, how did he do that??? His art is never flashy, never tries to impress - it flows directly from the source material. There is a delight to it that is very similar to the joy I see in Bach’s compositions, and there is also something very humble about the process. It's not setting out to change the world, or write the greatest piece ever written - instead, it's a scientist's life-long pursuit of finding out what else might be in there, what layers might still be hiding; engaging one's imagination, but also being able to then actually do what you've imagined. That’s beautiful.”
Gandelsman finishes with this: “I’m very excited to go on the road and share this music with audiences around the country. There’s only so much one can learn about a piece of music in a practice room; another 100% is there for you to discover when you are on stage, whether you are playing for an audience of thousands or an audience of one. Thinking about musicians like Martin, Bela (Fleck) and Kayhan (Kalhor) inspires me to search for a place where I can feel like what’s happening is created on the spot. Sometimes it can take a full hour to just get to that place, and sometimes I can get there relatively quickly. There is a scene in Kung Fu Panda 2, where in a crucial moment, Po finally understands what his master has been talking about all along, time and space stop, he can hold a raindrop in his paw - he finds Inner Peace. That's the place I try to get to in performance”.
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CD1
01. Suite No.1, in G Major (transposed to D Major), BWV 1007 I. Prélude
02. Suite No.1, in G Major (transposed to D Major), BWV 1007 II. Allemande
03. Suite No.1, in G Major (transposed to D Major), BWV 1007 III. Courante
04. Suite No.1, in G Major (transposed to D Major), BWV 1007 IV. Sarabande
05. Suite No.1, in G Major (transposed to D Major), BWV 1007 V. Menuet I & II
06. Suite No.1, in G Major (transposed to D Major), BWV 1007 VI. Gigue
07. Suite No.2, in D minor (transposed to A minor), BWV 1008 I. Prélude
08. Suite No.2, in D minor (transposed to A minor), BWV 1008 II. Allemande
09. Suite No.2, in D minor (transposed to A minor), BWV 1008 III. Courante
10. Suite No.2, in D minor (transposed to A minor), BWV 1008 IV. Sarabande
11. Suite No.2, in D minor (transposed to A minor), BWV 1008 V. Menuett I & II
12. Suite No.2, in D minor (transposed to A minor), BWV 1008 VI. Gigue
13. Suite No.3, in C Major (transposed to G Major), BWV 1009 I. Prélude
14. Suite No.3, in C Major (transposed to G Major), BWV 1009 II. Allemande
15. Suite No.3, in C Major (transposed to G Major), BWV 1009 III. Courante
16. Suite No.3, in C Major (transposed to G Major), BWV 1009 IV. Sarabande
17. Suite No.3, in C Major (transposed to G Major), BWV 1009 V. Bourrée I & II
18. Suite No.3, in C Major (transposed to G Major), BWV 1009 VI. Gigue
CD2
01. Suite No.4, in E-flat Major (transposed to B-flat Major), BWV 1010 I. Prélude
02. Suite No.4, in E-flat Major (transposed to B-flat Major), BWV 1010 II. Allemande
03. Suite No.4, in E-flat Major (transposed to B-flat Major), BWV 1010 III. Courante
04. Suite No.4, in E-flat Major (transposed to B-flat Major), BWV 1010 IV. Sarabande
05. Suite No.4, in E-flat Major (transposed to B-flat Major), BWV 1010 V. Bourrée I & II
06. Suite No.4, in E-flat Major (transposed to B-flat Major), BWV 1010 VI. Gigue
07. Suite No.5, in C minor (transposed to G minor), BWV 1011 I. Prélude
08. Suite No.5, in C minor (transposed to G minor), BWV 1011 II. Allemande
09. Suite No.5, in C minor (transposed to G minor), BWV 1011 III. Courante
10. Suite No.5, in C minor (transposed to G minor), BWV 1011 IV. Sarabande
11. Suite No.5, in C minor (transposed to G minor), BWV 1011 V. Gavotte I & II
12. Suite No.5, in C minor (transposed to G minor), BWV 1011 VI. Gigue
13. Suite No.6, in D major, BWV 1012 I. Prélude
14. Suite No.6, in D major, BWV 1012 II. Allemande
15. Suite No.6, in D major, BWV 1012 III. Courante
16. Suite No.6, in D major, BWV 1012 IV. Sarabande
17. Suite No.6, in D major, BWV 1012 V. Gavotte I & II
18. Suite No.6, in D major, BWV 1012 VI. Gigue
In a Circle Records is proud to present Johnny Gandelsman’s new solo album, featuring JS Bach’s complete cello suites, transcribed for violin. A follow-up to Gandelsman’s celebrated debut recording of Bach’s complete Sonatas and Partitas, the album features the first-ever recording of the Sixth Suite on a 5-string violin. Gandelsman’s years of experience working with master musicians from various world traditions (Bela Fleck, Martin Hayes, Kayhan Kalhor) brings a refreshing and deeply personal viewpoint to these magnificent works.
Gandelsman says: “similar to the Sonatas and Partitas, living in the world of the cello suites feels like working in a scientist’s lab - the compositions radiate with the joy of continuously finding new ways to expand the technical and emotional possibilities of the instrument, through the simple act of imagining the impossible, and then putting it down on paper.” He adds: “In the violin pieces, I tried to follow the manuscript as much as I could. The cello suites feel different. What I see is an implication for infinite possibilities, the way an incredible improviser can find endless variation within the simplest form. I've been thinking a lot about one of my favorite musicians, the Irish fiddler Martin Hayes. Seeing Martin weave together a medley of Irish tunes is very similar to seeing and experiencing amazing magic - I'm always left dumbfounded, how did he do that??? His art is never flashy, never tries to impress - it flows directly from the source material. There is a delight to it that is very similar to the joy I see in Bach’s compositions, and there is also something very humble about the process. It's not setting out to change the world, or write the greatest piece ever written - instead, it's a scientist's life-long pursuit of finding out what else might be in there, what layers might still be hiding; engaging one's imagination, but also being able to then actually do what you've imagined. That’s beautiful.”
Gandelsman finishes with this: “I’m very excited to go on the road and share this music with audiences around the country. There’s only so much one can learn about a piece of music in a practice room; another 100% is there for you to discover when you are on stage, whether you are playing for an audience of thousands or an audience of one. Thinking about musicians like Martin, Bela (Fleck) and Kayhan (Kalhor) inspires me to search for a place where I can feel like what’s happening is created on the spot. Sometimes it can take a full hour to just get to that place, and sometimes I can get there relatively quickly. There is a scene in Kung Fu Panda 2, where in a crucial moment, Po finally understands what his master has been talking about all along, time and space stop, he can hold a raindrop in his paw - he finds Inner Peace. That's the place I try to get to in performance”.
Year 2020 | Classical | FLAC / APE
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