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Alban Gerhardt|BRITTEN: Cello Suite No. 1 / BACH, J.S.: Cello Suite No. 5 / KODALY: Cello Sonata (Gerhardt)

BRITTEN: Cello Suite No. 1 / BACH, J.S.: Cello Suite No. 5 / KODALY: Cello Sonata (Gerhardt)

Benjamin Britten - Johann Sebastian Bach - Zoltan Kodaly

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Langue disponible : anglais

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.
© TiVo

Plus d'informations

BRITTEN: Cello Suite No. 1 / BACH, J.S.: Cello Suite No. 5 / KODALY: Cello Sonata (Gerhardt)

Alban Gerhardt

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Cello Suite No. 1, Op. 72 (Benjamin Britten)

1
Canto
00:02:25

Benjamin Britten, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

2
I. Fuga
00:03:34

Benjamin Britten, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

3
II. Lamento
00:02:30

Benjamin Britten, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

4
Canto secondo
00:01:11

Benjamin Britten, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

5
III. Serenata
00:01:56

Benjamin Britten, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

6
IV. Marcia
00:03:06

Benjamin Britten, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

7
Canto terzo
00:02:14

Benjamin Britten, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

8
V. Bordone
00:03:31

Benjamin Britten, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

9
VI. Molto perpetuo e Canto
00:03:28

Benjamin Britten, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

Cello Suite No. 5 in C minor, BWV 1011 (Johann Sebastian Bach)

10
I. Prelude
00:05:17

Johann Sebastian Bach, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

11
II. Allemande
00:03:49

Johann Sebastian Bach, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

12
III. Courante
00:01:59

Johann Sebastian Bach, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

13
IV. Sarabande
00:04:09

Johann Sebastian Bach, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

14
V. Gavotte I - Gavotte II - Gavotte I da capo
00:04:10

Johann Sebastian Bach, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

15
VI. Gigue
00:02:15

Johann Sebastian Bach, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

Cello Sonata in B Minor, Op. 8 (Zoltán Kodály)

16
I. Allegro maestoso
00:08:31

Zoltan Kodály, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

17
II. Adagio
00:12:19

Zoltan Kodály, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

18
III. Allegro molto vivace
00:10:19

Zoltan Kodály, Composer - Alban Gerhardt, Artist, MainArtist

(C) 2004 Oehms Classics (P) 2004 Oehms Classics

Chronique

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.
© TiVo

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