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Pieter Wispelwey - JS Bach - 6 Suites For Cello Solo (2012) [2CD+DVD] {EPR-Classic}

Posted By: ruskaval

Date: 10 May 2013 18:11:43

Pieter Wispelwey - JS Bach - 6 Suites For Cello Solo (2012) [2CD+DVD] {EPR-Classic}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 736 Mb | MP3 @320 -> 344 Mb
DVD9 -> 2.73 Gb | All Regions | NTSC 16:9 | Dolby AC3, 2 ch / Dolby AC3, 6 ch
Subs: English, Nederlands, Deutsch, Francais | ~ 52h | ISO Image
Full Artwork @ 300 dpi (png) -> 152 Mb | 5% repair rar
© 2012 EPR-Classic / Evil Penguin Records Classic | 2012 EPRC 0012
Classical / Chamber Music / Cello

OK, are you ready for something completely different? From someone who has already recorded two complete sets of Bach's six suites for solo cello, BWV 1007-1012, no less? Where to begin? Dutch historical-performance specialist Pieter Wispelwey disregards the long performance tradition associated with these six suites, which seem like cousins to Bach's sonatas and partitas for solo violin but are actually quite different in character (there are no sonatas, for one thing). Even players of the Baroque cello sometimes seem to have Pablo Casals' magisterial recordings in their heads, but Casals is not in the building at all for these readings. They seem to rest on three principles.

First and foremost, Wispelwey has drawn on Baroque theories of rhetoric in constructing his interpretation. These were certainly in the air when Bach composed these works, although why they should apply specifically to the cello suites is less clear. Each phrase in Wispelwey's reading is like a spoken utterance. Notes are cleanly cut off, with very little legato, and the tempo is freely varied as speech might be. Second, Wispelwey's tempi are unorthodox in the extreme, tending mostly toward the fast side. Plunge in and sample the opening movement of the Suite for solo cello in G major, BWV 1007, for an idea of what you're getting into here. Third, although Wispelwey is not the first performer to de-emphasize the dance rhythms in these suites, he diverges from them to an unusual degree. Each of the dance movements is almost a character piece in the vein of Couperin, but with an entirely different set of instrumental textures. Throw in growling cello textures due to A=392 tuning, said to be authentic to the city of Köthen where the suites were written, and you get extremely un-song-like utterances throughout. It may all seem to add up to something with only a passing resemblance to what Bach wrote, but Wispelwey has the chops to pull this off, and there's an appealing sense of drilling deep into the music here. The sound from the ominously named Evil Penguin label, way too close up, is a disincentive even so, and this is probably not a good choice for those new to the music. Listeners will ultimately have to make up their own minds about this experiment, but it commands attention.

The key to this set is the DVD which is included, 392, Pieter Wispelwey and the Bach Cello Suites . The 392 refers of course to the pitch at which his instrument is tuned, and this is a central aspect of how this performance is seen by Wispelwey, and he demonstrates the clear differences between instruments… The DVD is worth the asking price for this set on its own, with plenty of fascinating insights based on close research in and around Bach's life, as well as clips of live performances given in Oxford… …Wispelwey extends shapes, plays with pauses and silence, and explores the resonance of the instrument to the full. The Allemande of the Suite No. 1 is an example of this shaping of space, taking time between phrases while allowing the strings to thrum, something which happens a good deal less on a modern instrument with wound metal strings. There is a nicely natural feel to this kind of playing, and a grounding of long experience which demonstrates a keen knowledge of what works and an avoidance of what doesn't. The low tuning results in a gruffer tone to the usually mild and lyrical Sarabande of this suite, Wispelwey sticking to the harmony notes a little longer, allowing their tonality to speak, where too short a resonance sounds as if it wouldn't work . This can have a more extreme effect further on, and listening blind to something like the Sarabande of the Suite No. 3 you might be forgiven for thinking it was an expertly played double bass rather than a cello. These differences are fascinating, but throw up questions as well as new perspectives on familiar works. While there is superb playing throughout this set, you might find it hard to get used to the darker colours and otherness of expression coming from these performances. Wispelwey discusses the Prelude of the Suite No. 4, concluding that the baroque cello suits a much lighter touch, imitating fingers on the strings of a lute rather than the pedals of an organ. This results in something far less linear than what we are usually served up; played slower as well as in a more separated way, the notes gain an extra identity as well as establishing new relationships. I for one relish the drama implied in the Prelude of the Suite No. 5, but following the logical flow of the music in such a movement can be a challenge, and these recordings may not be the ideal place to start a journey of discovery into J.S. Bach's cello suites, though the challenge is something which is in the very essence of these works, both for performer and listener. The downward re-tuning of the upper string in this fifth suite creates graveyard associations, and darkness abounds as in few other performances I could name. The contrast of relief in the light and joy in the Suite No. 6, played on a piccolo cello with an added upper E string is palpable. What also raises this release above the average in these works is the excellent recording quality… Detailed and close, you are embraced by warm, wooden sonorities, and can easily lose yourself in the music. Fingers tapping on the fingerboard and a certain amount of breathing are the side-effects of such an up-front and personal position, but the benefits far outweigh any blemishes… So yes, even if you know and love one or more complete recording of J.S Bach s Suites for cello solo, then you owe it to yourself to acquire a copy of this release. The DVD deconstructs and analyses in a very approachable way, and even if you think you know plenty about these works this shows this shows there is always more to discover. If ever there was a recording which takes us behind the notes of these pieces and adds to our understanding of their qualities then this is the one. That these are deeply satisfying performances and a marvellous recording seems an almost incidental bonus.

Video INFO

tracklist:
CD1
Suite no.1 in G major BWV 1007
01. Prelude
02. Allemande
03. Courante
04. Sarabande
05. Menuet I and II
06. Gigue

Suite no.2 in D minor BWV 1008
07. Prelude
08. Allemande
09. Courante
10. Sarabande
11. Menuet I and II
12. Gigue

Suite no.3 in C major BWV 1009
13. Prelude
14. Allemande
15. Courante –
16. Sarabande –
17. Bourrée I and II –
18. Gigue

CD2
Suite no.4 in E flat major BWV 1010
01. Prelude
02. Allemande
03. Courante
04. Sarabande
05. Bourrée I and II
06. Gigue

Suite no.5 in C minor BWV 1011
07. Prelude
08. Allemande
09. Courante
10. Sarabande
11. Gavotte I and II
12. Gigue

Suite no.6 in D major (a cinq cordes) BWV 1012
13. Prelude
14. Allemande
15. Courante
16. Sarabande –
17. Gavotte I and II
18. Gigue

DVD

EAC log CD1

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 1. April 2013, 17:11

Pieter Wispelwey / JS Bach - 6 Suites For Cello Solo CD1

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[39fd758e] (11/11) Accurately ripped

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EAC log CD2

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 1. April 2013, 19:06

Pieter Wispelwey / JS Bach - 6 Suites For Cello Solo CD2

Used drive : PLEXTOR DVDR PX-860A Adapter: 0 ID: 0

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Used interface : Native Win32 interface for Win NT & 2000
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Track 1

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End of status report

–– CUETools DB Plugin V2.1.3

[CTDB TOCID: fArjEEDTjsH2ilhLxQydPJNq5Yk-] found, Submit result: fArjEEDTjsH2ilhLxQydPJNq5Yk- has been confirmed
[5d7eaf41] (10/10) Accurately ripped

==== Log checksum 2FEAC53D412BA235C6EEBA2D7A4F4FF603137EA4482A4C9347FA569D1B293A24 ====