Petr Skalka - 6 Suites a Violoncello solo senza Basso (2024) [Hi-Res]
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BAND/ARTIST: Petr Skalka
- Title: 6 Suites a Violoncello solo senza Basso
- Year Of Release: 2024
- Label: Claves Records
- Genre: Classical Cello
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 02:33:02
- Total Size: 769 mb / 2.72 gb
- WebSite: Album Preview
Tracklist
CD1
01. Initio: Improvisation
02. Suite No. 1 in G Major BWV 1007: I. Prelude
03. Suite No. 1 in G Major BWV 1007: II. Allemande
04. Suite No. 1 in G Major BWV 1007: III. Courante
05. Suite No. 1 in G Major BWV 1007: IV. Sarabande
06. Suite No. 1 in G Major BWV 1007: V. Menuet I-II
07. Suite No. 1 in G Major BWV 1007: VI. Gigue
08. Suite No. 2 in D Minor BWV 1008: I. Prelude
09. Suite No. 2 in D Minor BWV 1008: II. Allemande
10. Suite No. 2 in D Minor BWV 1008: III. Courante
11. Suite No. 2 in D Minor BWV 1008: IV. Sarabande
12. Suite No. 2 in D Minor BWV 1008: V. Menuet I-II
13. Suite No. 2 in D Minor BWV 1008: VI. Gigue
14. Suite No. 3 in C Major BWV 1009: I. Prelude
15. Suite No. 3 in C Major BWV 1009: II. Allemande
16. Suite No. 3 in C Major BWV 1009: III. Courante
17. Suite No. 3 in C Major BWV 1009: IV. Sarabande
18. Suite No. 3 in C Major BWV 1009: V. Bourrée I-II
19. Suite No. 3 in C Major BWV 1009: VI. Gigue
20. Passacaglia for solo cello in C Minor "The Guardian Angel", after the original for violin from the Rosary Sonatas, arr. by Petr Skalka
CD2
01. Suite No. 4 in E-Flat Major BWV 1010: I. Prelude
02. Suite No. 4 in E-Flat Major BWV 1010: II. Allemande
03. Suite No. 4 in E-Flat Major BWV 1010: III. Courante
04. Suite No. 4 in E-Flat Major BWV 1010: IV. Sarabande
05. Suite No. 4 in E-Flat Major BWV 1010: V. Bourrée I-II
06. Suite No. 4 in E-Flat Major BWV 1010: VI. Gigue
07. Suite No. 5 in C Minor BWV 1011: I. Prelude
08. Suite No. 5 in C Minor BWV 1011: II. Allemande
09. Suite No. 5 in C Minor BWV 1011: III. Courante
10. Suite No. 5 in C Minor BWV 1011: IV. Sarabande
11. Suite No. 5 in C Minor BWV 1011: V. Gavotte I-II
12. Suite No. 5 in C Minor BWV 1011: VI. Gigue
13. Suite No. 6 in D Major BWV 1012: I. Prelude
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
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The emotions of today's cellist are the same as those of an 18th-century musician. But they are of a different intensity and are intertwined in another way. In today's stressful world, we certainly feel the emotion of satisfaction or the nuances of love somewhat differently than a devout person in the Baroque era. The context of the concert is also completely different. Today, we play the Suites in bigger halls and to much larger audiences than in the past. However, these pieces remain the most intimate chamber music ever composed. One might say that they are intended only for the performer's ears. Those who happen to be listening to the musician tend to watch from a distance in a somewhat voyeuristic manner. The cellist hears the Suites so close to the instrument that he can perceive the whispers of the rosin, the tension exerted by the pressure on the raw gut strings, the acoustic harmonics of the notes attacked more firmly. He can spatially discern the difference between the lowest and highest-pitched sounds as if they were coming from different directions. Conversely, an audience seated several metres away only perceives the sound of the cello from a specific point. Few works are as important to a given group of performers as Bach's Cello Suites. All cellists play them and have practised them all their lives. It's a nation of many little Glenn Goulds. Cellists have played their Suites every day since childhood and dream about them at night. They can talk endlessly about them. They know the various legendary recordings by heart, the different fingerings, quirky bowings, and bon mots. In the course of their studies, they are fed with warnings such as "Maestro Casals rehearsed these Suites for 12 years before performing them in concert!" I remember that when I was studying at the music conservatory, my class book read: Scales – Studies – Bach – Recital piece. Cellists are constantly searching and speculating and are often frustrated. As soon as they have reached the horizon of a dream, they see a new one the following day, just as distant and unattainable as yesterday's. It seems impossible to establish a definitive interpretation. It changes from day to day.
CD1
01. Initio: Improvisation
02. Suite No. 1 in G Major BWV 1007: I. Prelude
03. Suite No. 1 in G Major BWV 1007: II. Allemande
04. Suite No. 1 in G Major BWV 1007: III. Courante
05. Suite No. 1 in G Major BWV 1007: IV. Sarabande
06. Suite No. 1 in G Major BWV 1007: V. Menuet I-II
07. Suite No. 1 in G Major BWV 1007: VI. Gigue
08. Suite No. 2 in D Minor BWV 1008: I. Prelude
09. Suite No. 2 in D Minor BWV 1008: II. Allemande
10. Suite No. 2 in D Minor BWV 1008: III. Courante
11. Suite No. 2 in D Minor BWV 1008: IV. Sarabande
12. Suite No. 2 in D Minor BWV 1008: V. Menuet I-II
13. Suite No. 2 in D Minor BWV 1008: VI. Gigue
14. Suite No. 3 in C Major BWV 1009: I. Prelude
15. Suite No. 3 in C Major BWV 1009: II. Allemande
16. Suite No. 3 in C Major BWV 1009: III. Courante
17. Suite No. 3 in C Major BWV 1009: IV. Sarabande
18. Suite No. 3 in C Major BWV 1009: V. Bourrée I-II
19. Suite No. 3 in C Major BWV 1009: VI. Gigue
20. Passacaglia for solo cello in C Minor "The Guardian Angel", after the original for violin from the Rosary Sonatas, arr. by Petr Skalka
CD2
01. Suite No. 4 in E-Flat Major BWV 1010: I. Prelude
02. Suite No. 4 in E-Flat Major BWV 1010: II. Allemande
03. Suite No. 4 in E-Flat Major BWV 1010: III. Courante
04. Suite No. 4 in E-Flat Major BWV 1010: IV. Sarabande
05. Suite No. 4 in E-Flat Major BWV 1010: V. Bourrée I-II
06. Suite No. 4 in E-Flat Major BWV 1010: VI. Gigue
07. Suite No. 5 in C Minor BWV 1011: I. Prelude
08. Suite No. 5 in C Minor BWV 1011: II. Allemande
09. Suite No. 5 in C Minor BWV 1011: III. Courante
10. Suite No. 5 in C Minor BWV 1011: IV. Sarabande
11. Suite No. 5 in C Minor BWV 1011: V. Gavotte I-II
12. Suite No. 5 in C Minor BWV 1011: VI. Gigue
13. Suite No. 6 in D Major BWV 1012: I. Prelude
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
The emotions of today's cellist are the same as those of an 18th-century musician. But they are of a different intensity and are intertwined in another way. In today's stressful world, we certainly feel the emotion of satisfaction or the nuances of love somewhat differently than a devout person in the Baroque era. The context of the concert is also completely different. Today, we play the Suites in bigger halls and to much larger audiences than in the past. However, these pieces remain the most intimate chamber music ever composed. One might say that they are intended only for the performer's ears. Those who happen to be listening to the musician tend to watch from a distance in a somewhat voyeuristic manner. The cellist hears the Suites so close to the instrument that he can perceive the whispers of the rosin, the tension exerted by the pressure on the raw gut strings, the acoustic harmonics of the notes attacked more firmly. He can spatially discern the difference between the lowest and highest-pitched sounds as if they were coming from different directions. Conversely, an audience seated several metres away only perceives the sound of the cello from a specific point. Few works are as important to a given group of performers as Bach's Cello Suites. All cellists play them and have practised them all their lives. It's a nation of many little Glenn Goulds. Cellists have played their Suites every day since childhood and dream about them at night. They can talk endlessly about them. They know the various legendary recordings by heart, the different fingerings, quirky bowings, and bon mots. In the course of their studies, they are fed with warnings such as "Maestro Casals rehearsed these Suites for 12 years before performing them in concert!" I remember that when I was studying at the music conservatory, my class book read: Scales – Studies – Bach – Recital piece. Cellists are constantly searching and speculating and are often frustrated. As soon as they have reached the horizon of a dream, they see a new one the following day, just as distant and unattainable as yesterday's. It seems impossible to establish a definitive interpretation. It changes from day to day.
Year 2024 | Classical | FLAC / APE | HD & Vinyl
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