Kategorie:
Warenkorb 0

Ihr Warenkorb ist leer

Ophélie Gaillard - Bach: Cello Suites

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

Bach: Cello Suites

Ophélie Gaillard

Digitales Booklet

Verfügbar in
logo Hi-Res
24-Bit 96.0 kHz - Stereo

Musik-Streaming

Hören Sie dieses Album mit unseren Apps in hoher Audio-Qualität

Testen Sie Qobuz kostenlos und hören Sie sich das Album an

Hören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps

Abonnement abschließen

Hören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps

Download

Wählen Sie die Audio-Qualität

Um das Album zu diesem Preis zu kaufen, abonnieren Sie Sublime+

Text in englischer Sprache verfügbar

The Bach Cello Suites are an iconic monument of the literature with which any serious cellist must grapple. Performances can vary from the metronomically precise just-play-the-notes approach to the other extreme in which a player's idiosyncratic interpretations are so pronounced that they become the center of attention rather than Bach's sublime music. This 2010 version is French cellist Ophélie Gaillard's second recording of the suites, the first made a decade earlier when she was in her mid-twenties. For the most part Gaillard's take on the music (like that of most sensible cellists) lies somewhere in between, but with some movements closer to the eccentric end of the spectrum. Gaillard's technical fluency is unimpeachable. Her intonation, even in the most outrageous multiple-stop chords, is impeccable. She plays with a ripe, absolutely luscious tone that may not suit the taste of the most fervent period performance devotees but that would likely elicit wonder from just about everyone else. Her use of vibrato is circumspect and period-appropriate. She is scrupulous about observing repeats and her use of ornamentation is elegant and understated. The fluidity and unself-conscious physicality of Gaillard's playing keeps the listener aware that except for the preludes, this is sunny, dance-based music. Her handling of the faster movements is especially delightful; the Gigue from the Second Suite and the Bourées from the Fourth (among many others) are just plain fun. It's in some of the preludes where the idiosyncrasies of her interpretation may lose some listeners. The Prelude to the First Suite, consisting entirely of sixteenth note figures, is an interpretive challenge and it's one of the movements to which performers have applied the widest range of rhythmic freedom. Gaillard puts heavy emphasis on the downbeats and frequently sustains them for twice their written length, and she brings a similar approach to the Prelude of the Fourth Suite. Depending on the listener's perspective, her playing of these movements may come across as either expansively elastic or weirdly distended. A factor that's almost inevitably an issue in recordings of such intimate music for solo string instruments, and sometimes string chamber music, is the clear audibility of strings slapping the soundboard and the player's breathing. In almost any live performing situation, these would not be heard because those sounds don't tend to carry, and an audience member sitting even in the first row would be unlikely to notice them, so a recording is an unfortunately unnatural way to experience this music. The extraneous sounds are only minimally distracting here; Gaillard's breathing, while not annoying or always audible, can sound labored, as if she were working very hard, and that seems to contradict the apparent ease and flexibility of her playing. Otherwise, the acoustic is very fine, with a detailed, spacious, and nicely resonant ambience.
© TiVo

Weitere Informationen

Bach: Cello Suites

Ophélie Gaillard

launch qobuz app Ich habe die Qobuz Desktop-Anwendung für Windows / MacOS bereits heruntergeladen Öffnen

download qobuz app Ich habe die Qobuz Desktop-Anwendung für Windows / MacOS noch nicht heruntergeladen Downloaden Sie die Qobuz App

Kopieren Sie den folgenden Link, um das Album zu teilen

Sie hören derzeit Ausschnitte der Musik.

Hören Sie mehr als 50 Millionen Titel mit unseren Streaming-Abonnements

Hören Sie dieses Album und mehr als 50 Millionen weitere Titel im Rahmen Ihres Streaming-Abonnements mit unseren Apps.

Suite n. 1 in G major, BWV 1007 (Johann Sebastian Bach)

1
Prelude
00:02:40

Ophélie Gaillard, cello

2
Allemande
00:04:35

Ophélie Gaillard, cello

3
Courante
00:02:39

Ophélie Gaillard, cello

4
Sarabande
00:02:41

Ophélie Gaillard, cello

5
Menuets I & II
00:03:13

Ophélie Gaillard, cello

6
Gigue
00:01:48

Ophélie Gaillard, cello

Suite n. 2 in D minor, BWV 1008 (Johann Sebastian Bach)

7
Prelude
00:03:57

Ophélie Gaillard, cello

8
Allemande
00:03:43

Ophélie Gaillard, cello

9
Courante
00:02:05

Ophélie Gaillard, cello

10
Sarabande
00:04:25

Ophélie Gaillard, cello

11
Menuets I & II
00:02:49

Ophélie Gaillard, cello

12
Gigue
00:02:46

Ophélie Gaillard, cello

Suite n. 3 in C major, BWV 1009 (Johann Sebastian Bach)

13
Prelude
00:03:54

Ophélie Gaillard, cello

14
Allemande
00:03:58

Ophélie Gaillard, cello

15
Courante
00:03:06

Ophélie Gaillard, cello

16
Sarabande
00:03:36

Ophélie Gaillard, cello

17
Bourrées I & II
00:03:34

Ophélie Gaillard, cello

18
Gigue
00:03:22

Ophélie Gaillard, cello

DISC 2

Suite n. 4 in E flat major, BWV 1010 (Johann Sebastian Bach)

1
Prelude
00:04:34

Ophélie Gaillard, cello

2
Allemande
00:04:36

Ophélie Gaillard, cello

3
Courante
00:03:26

Ophélie Gaillard, cello

4
Sarabande
00:04:01

Ophélie Gaillard, cello

5
Bourrées I & II
00:04:56

Ophélie Gaillard, cello

6
Gigue
00:02:51

Ophélie Gaillard, cello

Suite n. 5 in C minor, BWV 1011 (Johann Sebastian Bach)

7
Prelude
00:06:10

Ophélie Gaillard, cello

8
Allemande
00:05:40

Ophélie Gaillard, cello

9
Courante
00:02:24

Ophélie Gaillard, cello

10
Sarabande
00:02:54

Ophélie Gaillard, cello

11
Gavottes I & II
00:04:43

Ophélie Gaillard, cello

12
Gigue
00:02:11

Ophélie Gaillard, cello

Suite n. 6 in D major, BWV 1012 (Johann Sebastian Bach)

13
Prelude
00:04:33

Ophélie Gaillard, cello

14
Allemande
00:07:28

Ophélie Gaillard, cello

15
Courante
00:03:48

Ophélie Gaillard, cello

16
Sarabande
00:04:37

Ophélie Gaillard, cello

17
Gavottes I & II
00:04:28

Ophélie Gaillard, cello

18
Gigue
00:04:30

Ophélie Gaillard, cello

Albumbeschreibung

The Bach Cello Suites are an iconic monument of the literature with which any serious cellist must grapple. Performances can vary from the metronomically precise just-play-the-notes approach to the other extreme in which a player's idiosyncratic interpretations are so pronounced that they become the center of attention rather than Bach's sublime music. This 2010 version is French cellist Ophélie Gaillard's second recording of the suites, the first made a decade earlier when she was in her mid-twenties. For the most part Gaillard's take on the music (like that of most sensible cellists) lies somewhere in between, but with some movements closer to the eccentric end of the spectrum. Gaillard's technical fluency is unimpeachable. Her intonation, even in the most outrageous multiple-stop chords, is impeccable. She plays with a ripe, absolutely luscious tone that may not suit the taste of the most fervent period performance devotees but that would likely elicit wonder from just about everyone else. Her use of vibrato is circumspect and period-appropriate. She is scrupulous about observing repeats and her use of ornamentation is elegant and understated. The fluidity and unself-conscious physicality of Gaillard's playing keeps the listener aware that except for the preludes, this is sunny, dance-based music. Her handling of the faster movements is especially delightful; the Gigue from the Second Suite and the Bourées from the Fourth (among many others) are just plain fun. It's in some of the preludes where the idiosyncrasies of her interpretation may lose some listeners. The Prelude to the First Suite, consisting entirely of sixteenth note figures, is an interpretive challenge and it's one of the movements to which performers have applied the widest range of rhythmic freedom. Gaillard puts heavy emphasis on the downbeats and frequently sustains them for twice their written length, and she brings a similar approach to the Prelude of the Fourth Suite. Depending on the listener's perspective, her playing of these movements may come across as either expansively elastic or weirdly distended. A factor that's almost inevitably an issue in recordings of such intimate music for solo string instruments, and sometimes string chamber music, is the clear audibility of strings slapping the soundboard and the player's breathing. In almost any live performing situation, these would not be heard because those sounds don't tend to carry, and an audience member sitting even in the first row would be unlikely to notice them, so a recording is an unfortunately unnatural way to experience this music. The extraneous sounds are only minimally distracting here; Gaillard's breathing, while not annoying or always audible, can sound labored, as if she were working very hard, and that seems to contradict the apparent ease and flexibility of her playing. Otherwise, the acoustic is very fine, with a detailed, spacious, and nicely resonant ambience.
© TiVo

Informationen zu dem Album

Auszeichnungen:

Verbessern Sie diese Seite

Qobuz logo Warum Musik bei Qobuz kaufen?

Aktuelle Sonderangebote...
Mehr auf Qobuz
Von Ophélie Gaillard

Playlists

Das könnte Ihnen auch gefallen...
Panorama-Artikel...
Nils Frahm, ein untypischer Pianist

Das Talent von Nils Frahm wird seit zehn Jahren von Kritikern klassischer Musik sowie von Liebhabern elektronischer Experimente gleichermaßen hoch gelobt. Ob er auf einer Kirchenorgel oder auf einem mit Effektpedalen ausgestatteten Synthesizer spielt, der deutsche Pianist blickt immer nach vorn und das macht ihn anscheinend so überzeugend. Zum heutigen Piano Day, den er ins Leben gerufen hat, um dem Klavier und seinen Meistern Ehre zu gebühren, drehen wir eine Runde durch seine Diskographie.

Komponistinnen, diese Unbekannten

In der Geschichte der Musik gibt es, von der griechischen Sappho bis Kaija Saariaho, zahlreiche Komponistinnen, die der ausschließlich männlichen und oft sehr chauvinistischen Welt der Komponisten, die unsere Vorstellung und Wertschätzung der westlichen klassischen Musik geprägt haben, Nuancierungen hinzugefügt haben. Ein Rückblick in die Geschichten begabter Frauen, die allzu oft ignoriert worden sind.

Beethovens Fidelio - ein großes Abenteuer

Beethovens Oper Fidelio basiert auf einem Ereignis, das sich während der revolutionären Terrorherrschaft in Frankreich zugetragen hat (eine unerschrockene junge Frau versuchte, als Mann verkleidet, ihren in einem Verlies gefangenen Mann zu retten). Die Oper erlebte ein turbulentes Schicksal und wurde im Laufe der Jahre vielfach überarbeitet. Sie beweist einmal mehr das musikalische Genie des Komponisten, der hier ein Libretto vertonte, das seinen politischen Ansichten entsprach.

Aktuelles...