Rachel Podger - J.S. Bach: Cello Suites (2019) [Hi-Res]
Artist: Rachel Podger
Title: J.S. Bach: Cello Suites
Year Of Release: 2019
Label: Channel Classics Records
Genre: Classical
Quality: FLAC (tracks) / 24bit-192kHz FLAC (tracks+booklet)
Total Time: 02:07:05
Total Size: 637 MB / 4.29 GB
WebSite: Album Preview
Tracklist:Title: J.S. Bach: Cello Suites
Year Of Release: 2019
Label: Channel Classics Records
Genre: Classical
Quality: FLAC (tracks) / 24bit-192kHz FLAC (tracks+booklet)
Total Time: 02:07:05
Total Size: 637 MB / 4.29 GB
WebSite: Album Preview
1. Cello Suite No.1 in G Major, BWV1007 - I. Prelude
2. Cello Suite No.1 in G Major, BWV1007 - transcribed by R. Podger (D Major) - II. Allemande
3. Cello Suite No.1 in G Major, BWV1007 - transcribed by R. Podger (D Major) - III. Courante
4. Cello Suite No.1 in G Major, BWV1007 - transcribed by R. Podger (D Major) - IV. Sarabande
5. Cello Suite No.1 in G Major, BWV1007 - transcribed by R. Podger (D Major) - V. Menuet 1 and 2
6. Cello Suite No.1 in G Major, BWV1007 - transcribed by R. Podger (D Major) - VI. Gigue
7. Cello Suite No.2 in D minor, BWV1008 - transcribed by R. Podger (A minor) - I. Prelude
8. Cello Suite No.2 in D minor, BWV1008 - transcribed by R. Podger (A minor) - II. Allemandeve
9. Cello Suite No.2 in D minor, BWV1008 - transcribed by R. Podger (A minor) - III. Courante
10. Cello Suite No.2 in D minor, BWV1008 - transcribed by R. Podger (A minor) - IV. Sarabande
11. Cello Suite No.2 in D minor, BWV1008 - transcribed by R. Podger (A minor) - V. Menuet 1 and 2
12. Cello Suite No.2 in D minor, BWV1008 - transcribed by R. Podger (A minor) - VI. Gigue
13. Cello Suite No.3 in C Major, BWV1009 - transcribed by R. Podger (G Major) - I. Prelude
14. Cello Suite No.3 in C Major, BWV1009 - transcribed by R. Podger (G Major) - II. Allemande
15. Cello Suite No.3 in C Major, BWV1009 - transcribed by R. Podger (G Major) - III. Courante
16. Cello Suite No.3 in C Major, BWV1009 - transcribed by R. Podger (G Major) - IV. Sarabande
17. Cello Suite No.3 in C Major, BWV1009 - transcribed by R. Podger (G Major) - V. Bourree
18. Cello Suite No.3 in C Major, BWV1009 - transcribed by R. Podger (G Major) - VI. Gigue
19. Cello Suite No.4 in E Flat Major, BWV1010 - transcribed by R. Podger (B Flat Major) - I. Prelude
20. Cello Suite No.4 in E Flat Major, BWV1010 - transcribed by R. Podger (B Flat Major) - II. Allemande
21. Cello Suite No.4 in E Flat Major, BWV1010 - transcribed by R. Podger (B Flat Major) - III. Courante
22. Cello Suite No.4 in E Flat Major, BWV1010 - transcribed by R. Podger (B Flat Major) - IV. Sarabande
23. Cello Suite No.4 in E Flat Major, BWV1010 - transcribed by R. Podger (B Flat Major) - V. Bourree
24. Cello Suite No.4 in E Flat Major, BWV1010 - transcribed by R. Podger (B Flat Major) - VI. Gigue
25. Cello Suite No.5 in C minor, BWV1011 - transcribed by R. Podger (G minor) - I. Prelude
26. Cello Suite No.5 in C minor, BWV1011 - transcribed by R. Podger (G minor) - II. Allemande
27. Cello Suite No.5 in C minor, BWV1011 - transcribed by R. Podger (G minor) - III. Courante
28. Cello Suite No.5 in C minor, BWV1011 - transcribed by R. Podger (G minor) - IV. Sarabande
29. Cello Suite No.5 in C minor, BWV1011 - transcribed by R. Podger (G minor) - V. Gavotte 1 and 2
30. Cello Suite No.5 in C minor, BWV1011 - transcribed by R. Podger (G minor) - VI. Gigue
31. Cello Suite No.6 in D Major, BWV1012 - I. Prelude
32. Cello Suite No.6 in D Major, BWV1012 - II. Allemande
33. Cello Suite No.6 in D Major, BWV1012 - III. Courante
34. Cello Suite No.6 in D Major, BWV1012 - IV. Sarabande
35. Cello Suite No.6 in D Major, BWV1012 - V. Gavotte 1 and 2
36. Cello Suite No.6 in D Major, BWV1012 - VI. Gigue
This is the first time the famous J.S. Bach Cello Suites are recorded and released performed on violin. Who would be a better candidate for this adventure than the 'Queen of the Baroque Violin' (Sunday Times), Rachel Podger?
"(...) Since, I have spent a fair bit of time coaching cellists, both modern and baroque alike, and found myself playing along to demonstrate various points I gradually could feel these pieces joining the violin partitas and sonatas as another kind of ‘daily bread’; I started catching myself playing some of the movements I particularly loved while warming up, and realising that it was actually possible to play them on the violin, and to find a special expressive vocabulary at the higher pitch. How could one possibly justify it, especially with works that have peppered the recording catalogue with some of the most iconic and adored string performances of all time, the Casals, Fourniers, Torteliers or Starkers? But what I was doing also seemed very much in keeping with Bach’s own habit of recycling his compositions for different instruments and different uses. The examples are endless but I immediately think of the concertos appearing as sinfonias in cantatas, or concertos for violins turned into harpsichord concertos. The more I reflect, the less I feel the need to be defensive because Bach did far more outrageous things! Think of the Prelude of the E major Partita for violin turned into a full orchestral cantata movement with trumpets and drums…" - Rachel Podger (excerpt from liner notes)
"(...) Since, I have spent a fair bit of time coaching cellists, both modern and baroque alike, and found myself playing along to demonstrate various points I gradually could feel these pieces joining the violin partitas and sonatas as another kind of ‘daily bread’; I started catching myself playing some of the movements I particularly loved while warming up, and realising that it was actually possible to play them on the violin, and to find a special expressive vocabulary at the higher pitch. How could one possibly justify it, especially with works that have peppered the recording catalogue with some of the most iconic and adored string performances of all time, the Casals, Fourniers, Torteliers or Starkers? But what I was doing also seemed very much in keeping with Bach’s own habit of recycling his compositions for different instruments and different uses. The examples are endless but I immediately think of the concertos appearing as sinfonias in cantatas, or concertos for violins turned into harpsichord concertos. The more I reflect, the less I feel the need to be defensive because Bach did far more outrageous things! Think of the Prelude of the E major Partita for violin turned into a full orchestral cantata movement with trumpets and drums…" - Rachel Podger (excerpt from liner notes)
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