Inspired By Bach Cello Suites

Product Details

Binding : Audio CD
EAN : 0074646320327
Label : Sony Music Canada Inc.
Number of Discs : 2
Product Group : Music
Release Date : 1997-10-14
UPC : 074646320327

ASIN : B0000029YB

Track Listings for

Disc-1
1. Suite No. 1 In G Major: Prelude - J. S. Bach
2. Suite No. 1 In G Major: Allemande - J. S. Bach
3. Suite No. 1 In G Major: Courante - J. S. Bach
4. Suite No. 1 In G Major: Sarabande - J. S. Bach
5. Suite No. 1 In G Major: Menuett 1 - 2 - J. S. Bach
6. Suite No. 1 In G Major: Gigue - J. S. Bach
7. Suite No. 2 in D minor: Prelude - J. S. Bach
8. Suite No. 2 in D minor: Allemande - J. S. Bach
9. Suite No. 2 in D minor: Courante - J. S. Bach
10. Suite No. 2 in D minor: Sarabande - J. S. Bach
11. Suite No. 2 in D minor: Menuett I 1 - 2 - J. S. Bach
12. Suite No. 2 in D minor: Gigue - J. S. Bach
13. Suite No. 3 In C Major: Prelude - J. S. Bach
14. Suite No. 3 In C Major: Allemande - J. S. Bach
15. Suite No. 3 In C Major: Courante - J. S. Bach
16. Suite No. 3 In C Major: Sarabande - J. S. Bach
17. Suite No. 3 In C Major: Bourree 1 - 2 - J. S. Bach
18. Suite No. 3 In C Major: Gigue - J. S. Bach
19. Suite No. 4 In E-Flat Major: Prelude - J. S. Bach
20. Suite No. 4 In E-Flat Major: Allemande - J. S. Bach
21. Suite No. 4 In E-Flat Major: Courante - J. S. Bach

Disc-2
1. Suite 4 in E flat Major: Sarabande - J.S.Bach
2. Suite 4 in E flat Major: Bouree 1- 2 - J.S.Bach
3. Suite 4 in E flat Major: Gigue - J.S.Bach
4. Suite 5 in C Minor: Prelude - J.S.Bach
5. Suite 5 in C Minor: Allemande - J.S.Bach
6. Suite 5 in C Minor: Courante - J.S.Bach
7. Suite 5 in C Minor: Sarabande - J.S.Bach
8. Suite 5 in C Minor: Gavotte 1 - 2 - J.S.Bach
9. Suite 5 in C Minor: Gigue - J.S.Bach
10. Suite 6 in D Major: Prelude - J.S.Bach
11. Suite 6 in D Major: Allemande - J.S.Bach
12. Suite 6 in D Major: Courante - J.S.Bach
13. Suite 6 in D Major: Sarabande - J.S.Bach
14. Suite 6 in D Major: Gavotte 1 - 2 - J.S.Bach
15. Suite 6 in D Major: Gigue - J.S.Bach

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Editorial Reviews

From Amazon.co.uk

Though they were long misunderstood as mere technical hurdles, Bach's Six Suites for unaccompanied cello are among those rare works of music that offer inexhaustible rewards for performer and listener alike. Yo-Yo Ma gave a pathbreaking account of the Suites back in the 1980s, but returns to them here impelled by a unique and interdisciplinary approach. For this project, Ma engaged the talents of artists in different fields--ranging from a landscape artist to a Kabuki actor and figure skaters--to produce six short films as a visual correlative for the highly distinctive character of each Suite. While the success of the films in illuminating Bach's creativity is decidedly uneven, Ma brings the music itself to life with a searing, quasi-vocal eloquence. His interpretations are probing, characterised by imaginative bowing and attention to the spacious architecture of Bach's score. This is especially clear in Ma's preference for broad, expansive tempos and patient spinning of filigreed detail. True, the generally Romantic cast of his conception can seem overdone and exaggerated in statement, as if Ma is more intent on overlaying his own personality on the discipline of the music. But the prayerful, meditative concentration he brings to the Sarabandes--listen to the single-lined, anguished tone painting in Suite 5--is utterly convincing. There is a sense of profound introspection here, while in the Sarabande of Suite 6 Ma's phrasing suggests we are in the same spiritual terrain as Beethoven's late quartets. Yet there is no lack of blistering energy and extroverted high spirits in some of the more overtly dance-oriented movements. While purists may complain of distortion in these accounts, Ma once again proves he has something vital to say with this music. --Thomas May

Amazon.com essential recording

Though they were long misunderstood as mere technical hurdles, Bach's six suites for unaccompanied cello are among those rare works of music that offer inexhaustible rewards for performer and listener alike. Yo-Yo Ma gave a pathbreaking account of the suites back in the '80s (Suites for Unaccompanied Cello ) but returns to them here impelled by a unique and interdisciplinary approach. For this project, Ma engaged the talents of artists in different fields--ranging from a landscape artist to a Kabuki actor and figure skaters--to produce six short films as a visual correlative for the highly distinctive character of each suite. While the success of the films in illuminating Bach's creativity is decidedly uneven, Ma brings the music itself to life with a searing, quasi-vocal eloquence. His interpretations are probing, characterized by imaginative bowing and attention to the spacious architecture of Bach's score. This is especially clear in Ma's preference for broad, expansive tempos and patient spinning of filigreed detail. True, the generally Romantic cast of his conception can seem overdone and exaggerated in statement, as if Ma is more intent on overlaying his own personality on the discipline of the music. But the prayerful, meditative concentration he brings to the Sarabandes--listen to the single-lined, anguished tone painting in Suite 5--is utterly convincing. There is a sense of profound introspection here, while in the Sarabande of Suite 6 Ma's phrasing suggests we are in the same spiritual terrain as Beethoven's late quartets. Yet there is no lack of blistering energy and extroverted high spirits in some of the more overtly dance-oriented movements. While purists may complain of distortion in these accounts, Ma once again proves he has something vital to say with this music. --Thomas May

Customer Reviews

The best, without question... (2007-03-06)

Don't let the previous reviewer scare you away from this recording. The only suite that sounds deeper than normal is the fifth suite, and that is becuase it is played as it was written: in scorgatura. It allows much more full, powerful and complex chords than regular tuning, and many peformers don't bother to play it this way because it is akward to adjust to, especially in one sitting.This is by far THE BEST performance I have ever heard of the cello suites. Yo Yo plays in a semi-baroque-semi-romantic style, that adds so much life and passion to Bach's suites. This is a MUST BUY. Highly Recommended

Why tune down? (2004-06-29)

Very masterful interpretations, but Ma tunes his cello down an entire half step! Is he trying to sound baroque? Does he want it to sound slack, or loose, or invoke some subliminal sense of "depth?" To me this just takes the wind from the sails, and having heard other great interpretations I cannot then listen to Ma's. In addition, the production values are overly breathy and reverberant, as if he is recorded in a large tiled space, giving an artificial impression. I just don't understand this. I'm glad it didn't spoil so many other reviewers' enjoyment, and sorry to seem picky, but my observations are factual and sincere.

Dynamic and interesting (2003-09-26)

Compared to his contemporaries, Yo-Yo Ma conveys more emotion, dynamics, and personality to the cello in a very individual way. He always sounds like Yo-Yo Ma,not generic cello. He makes Bach sound less sterile than most interpretations. I used to play cello in high school orchestra, so it impresses me that a cello can sound that warm with perfect intonation.

Uplifting, Inspiring, Inspired, and Elegant (2003-05-06)

This CD is the most relaxing CD i have ever heard. Yo Yo plays the music with precise and beautiful talent. I listen to it over an over again and it is one of his best works ever. I idolize Yo YO and suggest this CD to anyone who favors relaxing, elegant classical music.

Elegant, Artistic, and Inspired (2003-02-21)

In classical music I have usually been under whelmed by solos. It's not that solos are not good musically; it's just that I prefer an orchestra or symphony, or at least a quartet. As with all things, you can run into the exception, and this recording is one such.

Yo-Yo Ma with deft precision and clever bowing manages to create a sound that leaves you with the impression that there is more than one of him. The careful use of a faint echo aids with smearing the sound just a little, to help create a fullness that might not be there otherwise.

The interpretation of Bach's music is just that; Yo-Yo Ma plays the notes, yes. But Yo-Yo Ma plays more than just the notes; he plays, as stated by the subtitle, as though Bach inspired him to play this music. While the subtitle was intended for the uneven video production associated with this CD, when listening to the music you gain the feeling that perhaps the inspiration had less effect on the video than it did on Yo-Yo Ma.

I can envision Yo-Yo Ma sitting with his cello, interpreting this music with feeling, focusing on each stroke, each movement of his bow, feeling the music as much as playing the music; the touch of Ma's hand controlling the angle of the bow as well as the force to be able to wrest an artistic rendering of music from his instrument. Indeed, there may be a point where you may have difficulty discerning where Ma's instrument and Ma himself are separated, because Ma's talent is to make himself one with his instrument.

This music is a listening experience best conducted in a solitary, or very quiet, environment, preferably in a very comfortable recliner, and with lights dimmed or out altogether. Having light equipment to interpret this music visually might enhance an already incredible experience more. Five stars to an excellent interpretation of Bach's music.

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