Alban Gerhardt - Britten: Cello Suite No. 1 / Bach, J.S.: Cello Suite No. 5 / Kodaly: Cello Sonata (2004)
BAND/ARTIST: Alban Gerhardt
- Title: Britten: Cello Suite No. 1 / Bach, J.S.: Cello Suite No. 5 / Kodaly: Cello Sonata
- Year Of Release: 2004
- Label: Oehms Classics
- Genre: Classical Cello
- Quality: flac lossless (tracks)
- Total Time: 01:16:53
- Total Size: 252 mb
- WebSite: Album Preview
Tracklist
01. Cello Suite No. 1, Op. 72: Canto
02. Cello Suite No. 1, Op. 72: I. Fuga
03. Cello Suite No. 1, Op. 72: II. Lamento
04. Cello Suite No. 1, Op. 72: Canto secondo
05. Cello Suite No. 1, Op. 72: III. Serenata
06. Cello Suite No. 1, Op. 72: IV. Marcia
07. Cello Suite No. 1, Op. 72: Canto terzo
08. Cello Suite No. 1, Op. 72: V. Bordone
09. Cello Suite No. 1, Op. 72: VI. Molto perpetuo e Canto
10. Cello Suite No. 5 in C Minor, BWV 1011: I. Prelude
11. Cello Suite No. 5 in C Minor, BWV 1011: II. Allemande
12. Cello Suite No. 5 in C Minor, BWV 1011: III. Courante
13. Cello Suite No. 5 in C Minor, BWV 1011: IV. Sarabande
14. Cello Suite No. 5 in C Minor, BWV 1011: V. Gavotte I - Gavotte II - Gavotte I da capo
15. Cello Suite No. 5 in C Minor, BWV 1011: VI. Gigue
16. Cello Sonata in B Minor, Op. 8: I. Allegro maestoso
17. Cello Sonata in B Minor, Op. 8: II. Adagio
18. Cello Sonata in B Minor, Op. 8: III. Allegro molto vivace
Cellist Alban Gerhardt offers a quite satisfying disc of three varied but important works from the solo cello repertoire. The overall adjective to best describe this album is "intimate." Not only are works for solo instruments intimate and revealing by nature, but the actual recorded sound provides an additional degree of closeness that is not found on other significant recordings of these works. In the Britten First Suite, for example, the sound gives the impression that Gerhardt is not playing from a concert hall stage or a recording studio, but rather that he is sitting three feet in front of the listener in his/her living room. As such, the listener can truly hear everything that is going on: the production noise against the string, the slap of the string against the fingerboard in the pizzicato Serenata, and even the strike of Gerhardt's fingers in the fiendish Moto perpetuo.
The remaining pieces on the album have a similarly desirable recorded sound. The Prelude to Bach's Fifth Suite is more driven than most recordings; the introduction and the fugue share the same pulse. The interpretation is nonetheless successful and Gerhardt seems more concerned with letting the music speak for itself and less concerned with over-embellishment. The Kodály Solo Sonata, yet another of the cornerstones of the solo cello literature, is energetic and brazen without being pretentious. Gerhardt's technique here, as in the rest of the album, is quite ample and allows him to showcase all of the subtlety and nuance found in the score.
01. Cello Suite No. 1, Op. 72: Canto
02. Cello Suite No. 1, Op. 72: I. Fuga
03. Cello Suite No. 1, Op. 72: II. Lamento
04. Cello Suite No. 1, Op. 72: Canto secondo
05. Cello Suite No. 1, Op. 72: III. Serenata
06. Cello Suite No. 1, Op. 72: IV. Marcia
07. Cello Suite No. 1, Op. 72: Canto terzo
08. Cello Suite No. 1, Op. 72: V. Bordone
09. Cello Suite No. 1, Op. 72: VI. Molto perpetuo e Canto
10. Cello Suite No. 5 in C Minor, BWV 1011: I. Prelude
11. Cello Suite No. 5 in C Minor, BWV 1011: II. Allemande
12. Cello Suite No. 5 in C Minor, BWV 1011: III. Courante
13. Cello Suite No. 5 in C Minor, BWV 1011: IV. Sarabande
14. Cello Suite No. 5 in C Minor, BWV 1011: V. Gavotte I - Gavotte II - Gavotte I da capo
15. Cello Suite No. 5 in C Minor, BWV 1011: VI. Gigue
16. Cello Sonata in B Minor, Op. 8: I. Allegro maestoso
17. Cello Sonata in B Minor, Op. 8: II. Adagio
18. Cello Sonata in B Minor, Op. 8: III. Allegro molto vivace
Cellist Alban Gerhardt offers a quite satisfying disc of three varied but important works from the solo cello repertoire. The overall adjective to best describe this album is "intimate." Not only are works for solo instruments intimate and revealing by nature, but the actual recorded sound provides an additional degree of closeness that is not found on other significant recordings of these works. In the Britten First Suite, for example, the sound gives the impression that Gerhardt is not playing from a concert hall stage or a recording studio, but rather that he is sitting three feet in front of the listener in his/her living room. As such, the listener can truly hear everything that is going on: the production noise against the string, the slap of the string against the fingerboard in the pizzicato Serenata, and even the strike of Gerhardt's fingers in the fiendish Moto perpetuo.
The remaining pieces on the album have a similarly desirable recorded sound. The Prelude to Bach's Fifth Suite is more driven than most recordings; the introduction and the fugue share the same pulse. The interpretation is nonetheless successful and Gerhardt seems more concerned with letting the music speak for itself and less concerned with over-embellishment. The Kodály Solo Sonata, yet another of the cornerstones of the solo cello literature, is energetic and brazen without being pretentious. Gerhardt's technique here, as in the rest of the album, is quite ample and allows him to showcase all of the subtlety and nuance found in the score.
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