Catégories :
Panier 0

Votre panier est vide

Tabea Zimmermann - Tabea Zimmermann Plays Bach & Kurtag: Solo II

Mes favoris

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

Tabea Zimmermann Plays Bach & Kurtag: Solo II

Tabea Zimmermann

Livret numérique

Disponible en
logo Hi-Res
24-Bit 192.0 kHz - Stereo

Téléchargez cet album pour l'écouter en illimité

Téléchargement digital

Choisissez la qualité audio : 

Pour bénéficier de ce tarif, abonnez-vous à Studio Sublime

Langue disponible : anglais

"“We need Bach’s music, regardless of the instrument” – Tabea Zimmermann


Ten years after her acclaimed album “Solo” with the first two cello suites of Johann Sebastian Bach, violist Tabea Zimmermann now sets her sights on Suites Nos. 3 and 4. She pairs them with excerpts from György Kurtág’s cycle “Games, Signs & Messages”, selecting six numbers to form her own personal homage to Bach. 


For what kind of instruments did Bach write his solo suites BWV 1007-1012? How did they sound, what did they look like? This subject still gives rise to much speculation. Johann Peter Kellner’s manuscript copy from the early 1700s is one of the two main sources for the six solo suites, and it indicates a viola basso. The violoncello had not yet become standardized in terms of size, construction, and playing technique; Bach probably had instruments in mind such as the violoncello piccolo or the viola da spalla. The latter was a viola attached in front of the body by a strap: Bach performed the viola da spalla in public himself – possibly these suites. Tabea Zimmermann has not switched her musical hardware for this recording: here she plays her 1980 Vatelot viola with a classical bow.


In 2009, the album “Solo” (MYR003) launched Tabea Zimmermann’s collaboration with the myrios classics label. The release was crowned with a multitude of international awards: Gramophone Editor’s Choice, “Stern des Monats” in Fono Forum, 4f in Télérama and 5 Stars in the Italian magazine Musica; moreover, in response to that groundbreaking recording, the jury of the coveted German ECHO Klassik Prize selected Tabea Zimmermann as “2010 Instrumentalist of the Year”."

Plus d'informations

Tabea Zimmermann Plays Bach & Kurtag: Solo II

Tabea Zimmermann

launch qobuz app J'ai déjà téléchargé Qobuz pour Mac OS Ouvrir

download qobuz app Je n'ai pas encore téléchargé Qobuz pour Mac OS Télécharger l'app

Copier le lien pour partager la page

Vous êtes actuellement en train d’écouter des extraits.

Écoutez plus de 60 millions de titres avec votre abonnement illimité.

Téléchargez cet album pour l'écouter en illimité

Suite No. 3 in C major BWV1009 (Johann Sebastian Bach)

1
1. Prélude
00:03:03

Johann Sebastian Bach, Composer - Tabea Zimmermann, MainArtist

2020 Myrios Classics 2020 Myrios Classics

2
2. Allemande
00:03:14

Johann Sebastian Bach, Composer - Tabea Zimmermann, MainArtist

2020 Myrios Classics 2020 Myrios Classics

3
3. Courante
00:02:43

Johann Sebastian Bach, Composer - Tabea Zimmermann, MainArtist

2020 Myrios Classics 2020 Myrios Classics

4
4. Sarabande
00:03:30

Johann Sebastian Bach, Composer - Tabea Zimmermann, MainArtist

2020 Myrios Classics 2020 Myrios Classics

5
5. Bourrée I - II - I
00:03:23

Johann Sebastian Bach, Composer - Tabea Zimmermann, MainArtist

2020 Myrios Classics 2020 Myrios Classics

6
6. Gigue
00:02:52

Johann Sebastian Bach, Composer - Tabea Zimmermann, MainArtist

2020 Myrios Classics 2020 Myrios Classics

Games, Signs and Messages for Viola (Excerpt) (György Kurtág)

7
Panaszos nóta (Klagendes Lied)
00:02:23

Tabea Zimmermann, MainArtist - György Kurtág, Composer

2020 Myrios Classics 2020 Myrios Classics

8
Kromatikus feleselös (Zank-Kromatisch)
00:01:17

Tabea Zimmermann, MainArtist - György Kurtág, Composer

2020 Myrios Classics 2020 Myrios Classics

9
Doloroso – Garzulyéknak
00:01:44

Tabea Zimmermann, MainArtist - György Kurtág, Composer

2020 Myrios Classics 2020 Myrios Classics

10
Népdalféle (Im Volkston)
00:00:44

Tabea Zimmermann, MainArtist - György Kurtág, Composer

2020 Myrios Classics 2020 Myrios Classics

11
...eine Blume für Tabea ...
00:01:01

Tabea Zimmermann, MainArtist - György Kurtág, Composer

2020 Myrios Classics 2020 Myrios Classics

12
In Nomine – all'ongherese (Damjanich emlékkö)
00:05:08

Tabea Zimmermann, MainArtist - György Kurtág, Composer

2020 Myrios Classics 2020 Myrios Classics

Suite No. 4 in E-flat Major BWV1010 (Johann Sebastian Bach)

13
1. Prélude
00:03:53

Johann Sebastian Bach, Composer - Tabea Zimmermann, MainArtist

2020 Myrios Classics 2020 Myrios Classics

14
2. Allemande
00:04:01

Johann Sebastian Bach, Composer - Tabea Zimmermann, MainArtist

2020 Myrios Classics 2020 Myrios Classics

15
3. Courante
00:03:13

Johann Sebastian Bach, Composer - Tabea Zimmermann, MainArtist

2020 Myrios Classics 2020 Myrios Classics

16
4. Sarabande
00:03:37

Johann Sebastian Bach, Composer - Tabea Zimmermann, MainArtist

2020 Myrios Classics 2020 Myrios Classics

17
5. Bourrée I - II - I
00:04:28

Johann Sebastian Bach, Composer - Tabea Zimmermann, MainArtist

2020 Myrios Classics 2020 Myrios Classics

18
6. Gigue
00:02:21

Johann Sebastian Bach, Composer - Tabea Zimmermann, MainArtist

2020 Myrios Classics 2020 Myrios Classics

Descriptif de l'album

"“We need Bach’s music, regardless of the instrument” – Tabea Zimmermann


Ten years after her acclaimed album “Solo” with the first two cello suites of Johann Sebastian Bach, violist Tabea Zimmermann now sets her sights on Suites Nos. 3 and 4. She pairs them with excerpts from György Kurtág’s cycle “Games, Signs & Messages”, selecting six numbers to form her own personal homage to Bach. 


For what kind of instruments did Bach write his solo suites BWV 1007-1012? How did they sound, what did they look like? This subject still gives rise to much speculation. Johann Peter Kellner’s manuscript copy from the early 1700s is one of the two main sources for the six solo suites, and it indicates a viola basso. The violoncello had not yet become standardized in terms of size, construction, and playing technique; Bach probably had instruments in mind such as the violoncello piccolo or the viola da spalla. The latter was a viola attached in front of the body by a strap: Bach performed the viola da spalla in public himself – possibly these suites. Tabea Zimmermann has not switched her musical hardware for this recording: here she plays her 1980 Vatelot viola with a classical bow.


In 2009, the album “Solo” (MYR003) launched Tabea Zimmermann’s collaboration with the myrios classics label. The release was crowned with a multitude of international awards: Gramophone Editor’s Choice, “Stern des Monats” in Fono Forum, 4f in Télérama and 5 Stars in the Italian magazine Musica; moreover, in response to that groundbreaking recording, the jury of the coveted German ECHO Klassik Prize selected Tabea Zimmermann as “2010 Instrumentalist of the Year”."

À propos

Distinctions :

Améliorer cette page album

Qobuz logo Pourquoi acheter sur Qobuz ?

Les promotions du moment...
À découvrir également
Par Tabea Zimmermann

Playlists

Dans la même thématique...
some kind of peace Ólafur Arnalds
Seasons: Orchestral Music of Michael Fine The Royal Scottish National Orchestra
Debussy – Rameau Víkingur Ólafsson
Les Grands Angles...
Picasso & la Musique

Le génie moderniste de Picasso a très vite dépassé le cadre pictural pour irradier la musique et la danse, deux arts avec lesquels le peintre espagnol a toujours entretenu un rapport étroit, allant jusqu’à influencer ses amis compositeurs rencontrés en cours de route.

Henry Mancini, stylé

Sophistication, humour, sensibilité… Tels sont les mots qu’on accole souvent à la musique d’Henry Mancini. Depuis sa disparition en 1994, il est toujours considéré comme un compositeur pop majeur et influent. Sans doute parce que, à côté des œuvres satinées et légères qui ont fait sa réputation (“Diamants sur canapé”, “La Panthère rose”…), il a su montrer la complexité de son langage à travers des compositions plus tourmentées.

Les aventures de Christopher Hogwood chez L'Oiseau-Lyre

Disparu en 2014 à Cambridge des suites d’une tumeur au cerveau, Christopher Hogwood fut un des principaux acteurs de l’immense lame de fond provoquée par le mouvement historique qui s’est emparé de la musique baroque et classique à la fin du XXe siècle. En créant son propre ensemble, l’Academy of Ancient Music en 1973, il a jeté les bases d’une nouvelle conception de l’interprétation historiquement informée, mettant à bas les traditions poussiéreuses. Chef d’orchestre, claveciniste, écrivain et musicologue anglais, il laisse un abondant catalogue pour le label L'Oiseau-Lyre, qui a accompagné son remarquable travail de défricheur.

Dans l'actualité...